The Wayback Machine - http://web.archive.org./web/20130119040652/http://wn.com:80/1935
Friday, 18 January 2013
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Scrooge (1935) - Full Movie
Colour on the Thames (1935)
Berlin 1935 in Farbe
Gold Diggers of 1935 (Part One)
Aikido Founder Morihei Ueshiba 1935
Mickey Mouse & Friends - The Band Concert (1935)
Gold Diggers of 1935 (Part Two)
Silly Symphony - Music Land (1935)
Canada's Great Experiment: 1935-1974
ML (1935)
Stalker build 1935
Scrooge

1935

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Scrooge (1935) - Full Movie
  • Order:
  • Duration: 1:17:36
  • Updated: 17 Jan 2013
Seymour Hicks plays the title role in the first sound version of the Dickens classic about the miser who's visited by three ghosts on Christmas Eve. This British import is notable for being the only adaptation of this story with an invisible Marley's Ghost and its Expressionistic cinematography. This is the uncut 78 minute version. Scrooge is in the public domain, and you can download it here for free: www.archive.org
http://web.archive.org./web/20130119040652/http://wn.com/Scrooge (1935) - Full Movie
Colour on the Thames (1935)
  • Order:
  • Duration: 8:28
  • Updated: 09 Jan 2013
(This is a higher-quality version of one of BFIFilms' most popular titles) This film is tricky to describe: is it a boat study, a film-poem, an experiment, a picture postcard? One thing is certain: it's a rare colour snapshot of the Thames and London in the 1930s - and it looks quite magical. Its artistic qualities may look a bit old-fashioned to us today; the slow pace, orchestral music and moody colours definitely belong to a bygone era, strikingly peaceful and undemanding. Yet colour film was still a novelty for audiences in 1935, and the photography (using the new Gasparcolor system) succeeds in accentuating the sharp contrast between the vivid green banks of the countryside and the drab tones of the industrial landscape. (Sonia Genaitay) 'Colour on the Thames' is included on the BFI DVD 'Science is Fiction / The Sounds of Science: The films of Jean Painleve' - filmstore.bfi.org.uk You can watch over 2000 other complete films and TV programmes from the BFI National Archive free of charge at the BFI Mediatheques: - www.bfi.org.uk
  • published: 19 Oct 2010
  • views: 33303
  • author: BFIfilms
http://web.archive.org./web/20130119040652/http://wn.com/Colour on the Thames (1935)
Berlin 1935 in Farbe
  • Order:
  • Duration: 8:26
  • Updated: 18 Jan 2013
www.poker-nach-strategie.de
  • published: 16 Nov 2008
  • views: 478771
  • author: rainerb1980
http://web.archive.org./web/20130119040652/http://wn.com/Berlin 1935 in Farbe
Gold Diggers of 1935 (Part One)
  • Order:
  • Duration: 7:01
  • Updated: 13 Jan 2013
Directed by Busby Berkeley, this excerpt of "Lullaby of Broadway" showcases Berkeley's signature dance and song production, but also intense class commentary.
  • published: 08 Sep 2007
  • views: 91961
  • author: Peter Beil
http://web.archive.org./web/20130119040652/http://wn.com/Gold Diggers of 1935 (Part One)
Aikido Founder Morihei Ueshiba 1935
  • Order:
  • Duration: 9:43
  • Updated: 18 Jan 2013
The Rare 1935 Asahi News Film. Aikido was created by Morihei Ueshiba (植芝盛平Ueshiba Morihei, 14 December 1883--26 April 1969), referred to by some aikido practitioners as Ōsensei ("Great Teacher"). Ueshiba envisioned aikido not only as the synthesis of his martial training, but also an expression of his personal philosophy of universal peace and reconciliation. For more information : Aikido Journal If you like my videos please Rate, Comment and / or Subscribe to my channel.
http://web.archive.org./web/20130119040652/http://wn.com/Aikido Founder Morihei Ueshiba 1935
Mickey Mouse & Friends - The Band Concert (1935)
  • Order:
  • Duration: 8:45
  • Updated: 17 Jan 2013
The orchestra is performing the William Tell overture, but then Donald Duck (in his third appearance in a Mickey cartoon) appears selling ice-cream. Uninvited, Donald takes out his flute and distracts the band into playing Turkey in the Straw. The cartoon is notable for being the first Mickey Mouse film in Technicolor, although two more Mickey cartoons were made in black and white before they were produced in colors on a permanent basis; Mickey's Service Station and Mickey's Kangaroo. It is said that when conductor Arturo Toscanini first saw the cartoon in a movie theater, he was so delighted with it that he ran up to the projection booth and asked the projectionist to run it again. In 1994 it was voted #3 of the 50 Greatest Cartoons of all time by members of the animation field. Also, according to Leonard Maltin in a commentary for this film when it was included in one of the Walt Disney Treasures, The Band Concert was remade (somewhat) years later as Symphony Hour.
  • published: 30 Mar 2008
  • views: 14148650
  • author: edgelee84
http://web.archive.org./web/20130119040652/http://wn.com/Mickey Mouse & Friends - The Band Concert (1935)
Gold Diggers of 1935 (Part Two)
  • Order:
  • Duration: 6:51
  • Updated: 12 Jan 2013
Part two.....I wish I could have included both together, but tis better than nothing.
  • published: 08 Sep 2007
  • views: 80630
  • author: Peter Beil
http://web.archive.org./web/20130119040652/http://wn.com/Gold Diggers of 1935 (Part Two)
Silly Symphony - Music Land (1935)
  • Order:
  • Duration: 9:12
  • Updated: 17 Jan 2013
Silly Symphony - Music Land - 1935 - Wilfred Jackson
http://web.archive.org./web/20130119040652/http://wn.com/Silly Symphony - Music Land (1935)
Canada's Great Experiment: 1935-1974
  • Order:
  • Duration: 10:45
  • Updated: 06 Jan 2013
(Bill Abram/Snowshoefilms 3-parts) THE CRIME OF THE CANADIAN BANKING SYSTEM For nearly 40 years, Canada - the people of Canada - had control of their own currency! Imagine! They founded their own bank and issued their own currency with no debt obligations to banks. Taxes were low and debt was too. They got themselves out of the depression that had been induced by the international banking cartel in 1929. By 1934, through the driving force of one man -- Gerald Grattan McGeer, Mayor of Vancouver, BC -- Canada founded the Bank of Canada and they were on their way to debt-free recovery. Problem was, the Canadians, busy building their own country, didn't think about, weren't taught about, didn't fully know about what they had -- and they lost it to the banking cartel in 1974. A Bilderberg-banker plan to take it away from them and mire them back in deep debt, forcing them to sell off and privatize everything they'd accomplished in those healthy four decades. Canada's Great Experiment was over. But all isn't lost. The structure is still there and so is the Bank of Canada. Bill Abram tells the story, also, of Nobel-prize winner Mohammad Yunus's bank, which demonstrates "poverty is not caused by poor people; poverty is caused by the system." Hocus pocus malthusianism as practiced by the Bilderbergers and their minions is exposed by Yunus and Abram.
  • published: 21 Nov 2007
  • views: 31511
  • author: Yoryevrah
http://web.archive.org./web/20130119040652/http://wn.com/Canada's Great Experiment: 1935-1974
ML (1935)
  • Order:
  • Duration: 9:38
  • Updated: 18 Jan 2013
The princess violin from the sleepy Land of Symphony is chased by a more lively saxophone from the Isle of Jazz. Soon the queen discovers them and locks the sax in the metronome.
  • published: 02 Jul 2008
  • views: 82001
  • author: Semp Sato
http://web.archive.org./web/20130119040652/http://wn.com/ML (1935)
Stalker build 1935
  • Order:
  • Duration: 7:35
  • Updated: 14 Jan 2013
Great gift from the GSC - build 1935! Almost all the old stage, almost all the monsters! Exciting atmosphere STALKER: Oblivion Lost!
  • published: 01 Mar 2009
  • views: 108012
  • author: Alex HSH
http://web.archive.org./web/20130119040652/http://wn.com/Stalker build 1935
Scrooge
  • Order:
  • Duration: 59:38
  • Updated: 10 Jan 2013
Scrooge, the ultimate Victorian miser, hasn't a good word for Christmas, though his impoverished clerk Cratchit and nephew Fred are full of holiday spirit. But in the night, Scrooge is visited by spirits of another color.
  • published: 04 Jun 2009
  • views: 91557
  • author: drelbcom
http://web.archive.org./web/20130119040652/http://wn.com/Scrooge
Pebble Beach 2012: 1935 Hoffman X-8 - Jay Leno's Garage
  • Order:
  • Duration: 6:15
  • Updated: 15 Jan 2013
Subscribe NOW to Jay Leno's Garage: full.sc Myron Vernis takes Jay through his one-of-a-kind, mid-engined X-8, designed and built by Roscoe C. Hoffman. Check out the Official Jay Leno's Garage Site for more: JayLenosGarage.com Get more Jay Leno's Garage Follow Jay: Twitter.com Like Jay: Facebook.com Get more NBC: NBC YouTube: full.sc NBC Facebook: facebook.com NBC Twitter: twitter.com NBC Pinterest: pinterest.com NBC Tumblr: nbctv.tumblr.com Tonight Show host Jay Leno explores his passion for all things on wheels in this Emmy Award-winning web series. Pebble Beach 2012: 1935 Hoffman X-8 - Jay Leno's Garage www.youtube.com
http://web.archive.org./web/20130119040652/http://wn.com/Pebble Beach 2012: 1935 Hoffman X-8 - Jay Leno's Garage
Becky Sharp
  • Order:
  • Duration: 1:23:37
  • Updated: 14 Jan 2013
viewster.com - watch MORE free movies on http Set against the background of the Battle of Waterloo, Becky Sharp is the story of Vanity Fair by Thackeray. Becky and Amelia are girls at school together, but Becky is from a "show biz" family, or in other words, very low class. Becky manages to insinuate herself in Amelia's family and gets to know all their friends. From this possibly auspicious- beginning, she manages to ruin her own life, becoming sick, broke, and lonely, and also ruins the lives of many other "loved ones". In the movie we get to see the class distinctions in England at the time, and get a sense of what it was like for the English military at the time of the Napoleonic wars.
  • published: 18 May 2011
  • views: 5514
  • author: ViewsterTV
http://web.archive.org./web/20130119040652/http://wn.com/Becky Sharp
  • Scrooge (1935) - Full Movie
    1:17:36
    Scrooge (1935) - Full Movie
  • Colour on the Thames (1935)
    8:28
    Colour on the Thames (1935)
  • Berlin 1935 in Farbe
    8:26
    Berlin 1935 in Farbe
  • Gold Diggers of 1935 (Part One)
    7:01
    Gold Diggers of 1935 (Part One)
  • Aikido Founder Morihei Ueshiba 1935
    9:43
    Aikido Founder Morihei Ueshiba 1935
  • Mickey Mouse & Friends - The Band Concert (1935)
    8:45
    Mickey Mouse & Friends - The Band Concert (1935)
  • Gold Diggers of 1935 (Part Two)
    6:51
    Gold Diggers of 1935 (Part Two)
  • Silly Symphony - Music Land (1935)
    9:12
    Silly Symphony - Music Land (1935)
  • Canada's Great Experiment: 1935-1974
    10:45
    Canada's Great Experiment: 1935-1974
  • ML (1935)
    9:38
    ML (1935)
  • Stalker build 1935
    7:35
    Stalker build 1935
  • Scrooge
    59:38
    Scrooge
  • Pebble Beach 2012: 1935 Hoffman X-8 - Jay Leno's Garage
    6:15
    Pebble Beach 2012: 1935 Hoffman X-8 - Jay Leno's Garage
  • Becky Sharp
    1:23:37
    Becky Sharp


Seymour Hicks plays the title role in the first sound version of the Dickens classic about the miser who's visited by three ghosts on Christmas Eve. This British import is notable for being the only adaptation of this story with an invisible Marley's Ghost and its Expressionistic cinematography. This is the uncut 78 minute version. Scrooge is in the public domain, and you can download it here for free: www.archive.org

77:36
Scrooge (1935) - Full Movie
Sey­mour Hicks plays the title role in the first sound ver­sion of the Dick­ens clas­sic about...
pub­lished: 24 Dec 2008
8:28
Colour on the Thames (1935)
(This is a high­er-qual­i­ty ver­sion of one of BFI­Films' most pop­u­lar ti­tles) This film is tr...
pub­lished: 19 Oct 2010
au­thor: BFI­films
8:26
Berlin 1935 in Farbe
www.​poker-nach-strategie.​de...
pub­lished: 16 Nov 2008
au­thor: rainer­b1980
7:01
Gold Dig­gers of 1935 (Part One)
Di­rect­ed by Busby Berke­ley, this ex­cerpt of "Lul­la­by of Broad­way" show­cas­es Berke­ley's sig...
pub­lished: 08 Sep 2007
au­thor: Peter Beil
9:43
Aiki­do Founder Mori­hei Ueshi­ba 1935
The Rare 1935 Asahi News Film. Aiki­do was cre­at­ed by Mori­hei Ueshi­ba (植芝盛平Ueshi­ba Mori­hei,...
pub­lished: 09 Nov 2008
8:45
Mick­ey Mouse & Friends - The Band Con­cert (1935)
The or­ches­tra is per­form­ing the William Tell over­ture, but then Don­ald Duck (in his third ...
pub­lished: 30 Mar 2008
au­thor: edgelee84
6:51
Gold Dig­gers of 1935 (Part Two)
Part two.....I wish I could have in­clud­ed both to­geth­er, but tis bet­ter than noth­ing....
pub­lished: 08 Sep 2007
au­thor: Peter Beil
9:12
Silly Sym­pho­ny - Music Land (1935)
Silly Sym­pho­ny - Music Land - 1935 - Wil­fred Jack­son...
pub­lished: 11 Jul 2008
10:45
Cana­da's Great Ex­per­i­ment: 1935-1974
(Bill Abram/Snow­shoe­films 3-parts) THE CRIME OF THE CANA­DI­AN BANK­ING SYS­TEM For near­ly 40 ...
pub­lished: 21 Nov 2007
au­thor: Yoryevrah
9:38
ML (1935)
The princess vi­o­lin from the sleepy Land of Sym­pho­ny is chased by a more live­ly sax­o­phone ...
pub­lished: 02 Jul 2008
au­thor: Semp Sato
7:35
Stalk­er build 1935
Great gift from the GSC - build 1935! Al­most all the old stage, al­most all the mon­sters! E...
pub­lished: 01 Mar 2009
au­thor: Alex HSH
59:38
Scrooge
Scrooge, the ul­ti­mate Vic­to­ri­an miser, hasn't a good word for Christ­mas, though his im­pove...
pub­lished: 04 Jun 2009
au­thor: drel­b­com
6:15
Peb­ble Beach 2012: 1935 Hoff­man X-8 - Jay Leno's Garage
Sub­scribe NOW to Jay Leno's Garage: full.​sc Myron Ver­nis takes Jay through his one-of-a-ki...
pub­lished: 12 Sep 2012
83:37
Becky Sharp
viewster.​com - watch MORE free movies on http Set against the back­ground of the Bat­tle of ...
pub­lished: 18 May 2011
au­thor: View­sterTV
Youtube results:
8:13
Mick­ey Mouse - Pluto's Judge­ment Day - 1935
Re­leased in 1935....
pub­lished: 08 Jun 2009
7:44
Mick­ey Mouse Color Car­toon - Mick­ey's Fire Brigade (1935)
A house fire is rag­ing and Mick­ey, Don­ald and Goofy are a fire de­part­ment, and at­tempt to ...
pub­lished: 13 Aug 2010
au­thor: vriosm
83:22
Al­fred Hitch­cock | The 39 Steps (1935) [Thriller]
"The 39 Steps" (1935) is a British thriller film di­rect­ed by Al­fred Hitch­cock, loose­ly bas...
pub­lished: 15 Jul 2012
3:26
Fats Waller - Louisiana Fairy­tale 1935
Fats Waller - Louisiana Fairy­tale 1935...
pub­lished: 17 May 2009
au­thor: 525wire­man
photo: Creative Commons / INABA Tomoaki
Boeing 787 Dreamliner
The Guardian
16 Jan 2013
YURI KAGEYAMA. AP Business Writers= TOKYO (AP) — Boeing Co.'s 787 planes were grounded for safety checks Wednesday by two major Japanese airlines after one was forced to make an emergency landing in the latest blow for the new jet ... The 787, known as the Dreamliner, is Boeing's newest and most technologically advanced jet, and the company is counting heavily on its success ... The grounding was done voluntarily by the airlines ... The U.S ... U.S....(size: 11.1Kb)
photo: White House / Pete Souza
President Barack Obama and Vice President Joe Biden talk with Prime Minister Benjamin Netanyahu of Israel prior to his departure from the White House, July 6, 2010.
The Guardian
17 Jan 2013
AMY TEIBEL. Associated Press= JERUSALEM (AP) — Israel's premier on Wednesday dismissed President Barack Obama's reported displeasure with his hard-line policies toward the Palestinians, a sisgn that the two could be headed for a showdown. Polls suggest Benjamin Netanyahu is poised to win Israel's elections next week and continue in office ... could suffer in unprecedented ways if the Israeli government doesn't change its policies....(size: 10.2Kb)
photo: GFDL
 Boeing 787 - Dreamliner  at roll-out ceremony /aaeh
The Star
17 Jan 2013
TOKYO. Aviation regulators on Thursday grounded most of the world's 787 Dreamliner fleet until a fire risk linked to the plane's batteries can been fixed, deepening a crisis for its US manufacturer Boeing. Regulators in Japan, India and Chile followed the lead of the US Federal Aviation Administration (FAA) in ordering an indefinite halt to all operations, after a Japanese Dreamliner on Wednesday was forced into an emergency landing ... ....(size: 4.5Kb)
photo: US Army / Staff Sgt. Michael R. Noggle
File - Senegalese and Malian soldiers train with U.S. special forces in Mali during a military training engagement, May 11, 2010 in Bamako, Mali as part of Exercise Flintlock 10.
Antiwar
18 Jan 2013
For every action, there is an equal and opposite reaction” is Newton’s third law of physics. Its counterpart in geopolitics is “blowback,” when military action in one sphere produces an unintended and undesirable consequence in another. September 11, 2001, was blowback. George H.W. Bush had sent an army of half a million to hurl Saddam Hussein out of Kuwait, a triumph ... bases in Saudi Arabia ... Patrick J....(size: 5.8Kb)
photo: French MoD photo
 File photo of French troops at Abidjan Airport, Ivory Coast.
Pittsburgh Post-Gazette
16 Jan 2013
BAMAKO, Mali -- After a punishing bombing campaign failed to halt the advance of al-Qaida-linked fighters, France pledged Tuesday to triple the size of its force in Mali, sending in hundreds more troops as it prepared for a land assault to dislodge the militants occupying the country's northern half ... On Tuesday, France announced that it was increasing the number of troops from 800 to 2,500 ... "We have one objective ... On Tuesday, U.S ... ....(size: 3.6Kb)



The Times of India
19 Jan 2013
KARWAR. Sandy Hobson is an intrepid adventurer. The 30-year-old woman from Australia is retracing a sea expedition carried out by Oskar Speck in 1935, from Germany to Australia. She is covering 50,000km by sea in a kayak. Sandy reached Karwar on Friday evening. She set off on her journey around India from Gujarat on Dec 2. She reached Agonda in Goa on Thursday and Karwar on Friday ... Cyprus and Turkey before entering India ... ....(size: 2.0Kb)
noodls
19 Jan 2013
(Source. City of Merced, CA). (EDITOR'S NOTE. For more information on the event or the grand marshals please contact. Eugene A. Drummond (209) 358-1935 or Silvia Fuller (209) 358-3636.). Wil Dean, Bishop Dwight Amey and Sheriff Mark Pazin, will be the grand marshals of the 17th annual Rev. Martin Luther King Jr. Day Unity Celebration held Monday, Jan. 21. The event will begin with a march along Martin Luther King, Jr ... Way ... distributed by ... (noodl....(size: 4.2Kb)
WorldNetDaily
19 Jan 2013
And it is safer as a result. In fact, you might recall that before terrorists in Israel began resorting to suicide bombings, they first tried shooting up cafes and restaurants and other public places. What happened every time was that the attackers were shot down by average citizens – sometimes grandmas packing heat ... Switzerland is another good example of a land where guns are plenty ... China established strict gun control in 1935 ... BONUS ... ....(size: 4.7Kb)
noodls
19 Jan 2013
(Source. NACo - National Association of Counties). For Immediate Release. Contacts.. January 18, 2013 Elena Temple Webb (USCM). 202-286-1100 etemple@usmayors.org. Gregory Minchak (NLC ). 202-626-3003. Minchak@nlc.org. Jim Philipps (NACo). 202-942-4220 jphilipps@naco.org Local Government Organizations Commend EPA's Memorandum ... -more- ... Conference of Mayors ... ### The U.S ... Founded in 1935, NACo provides essential services to the nation's ... (noodl....(size: 5.9Kb)
Irish Times
19 Jan 2013
MICHAEL JANSEN. ANALYSIS . The Soviet war in Afghanistan was criticial in building the contemporary ‘Jihadi International... Algeria and France, the former colonial power in the region, responded differently to these challenges ... Syrian cleric Izzedin al-Qassam (1882-1935) – for whom Hamas’s military wing was named – was another icon of resistance against the French in Syria and the British in Palestine ... ....(size: 6.7Kb)
Dayton Daily News
19 Jan 2013
Today is Saturday, Jan. 26, the 26th day of 2013. There are 339 days left in the year. Highlights in history on this date.. 1609 - The Ottoman Empire signs Peace Treaty of Karlowitz with Austria, Russia, Poland and Venice ceding control of most of Transylvania and Hungary ... 1778 - Australia is settled by the British ... capital, paving the way for the Library of Congress ... baseball player/sports announcer/actor (1935--); David Strathairn, U.S ... ....(size: 6.6Kb)
noodls
19 Jan 2013
(Source. College of William and Mary). Lawrence WilkersonWilkerson is an adjunct professor of government at the college. He teaches a course on national security decision making ... - Ed ... Nakasian's CD, which features remakes of Holliday's 1935 recordings of such songs as No Regrets, Did I Remember, and What a Little Moonlight Can Do, commemorates the establishment of Holliday as a vocal singer and pinpoints the apex of her singing career....(size: 106.4Kb)
The Examiner
18 Jan 2013
Does history repeat itself? Save up to $10 per person, and explore the past at The Autry museum on Martin Luther King, Jr. Day, Monday, January 21, 2013, from 10 a.m. to 4 p.m. Discover the important contributions of African Americans to the West. It's free! Reserve your complimentary tickets here ... Signed Club Alabam hat, circa 1935 ... Location ... The signed "Club Alabam" hat from around 1935, pictured on the side, is also on display ... Details. ... ....(size: 2.6Kb)
IMDb
18 Jan 2013
He well could beat Spielberg at DGA ... can “Argo” be the first film since 1935 to win Best Picture without winning anything else? -Addprediction.85.4.Click to predict Best Picture Oscar.addprediction- In the ... ....(size: 1.0Kb)
Seattle Post
18 Jan 2013
WAILUKU, Hawaii (AP) — A judge is allowing a group and the state to join forces in a lawsuit seeking to open Maui's Haleakala Trail to hikers ... The judge's action was the latest development in the group's nearly two-year legal battle to gain public access to the former horse path, also called the Haleakala Bridle Trail ... The trail was used extensively through the 1800s and early 1900s until Haleakala Highway was opened in 1935 ... ___....(size: 2.2Kb)
San Francisco Chronicle
18 Jan 2013
WAILUKU, Hawaii (AP) — A judge is allowing a group and the state to join forces in a lawsuit seeking to open Maui's Haleakala Trail to hikers ... The judge's action was the latest development in the group's nearly two-year legal battle to gain public access to the former horse path, also called the Haleakala Bridle Trail ... The trail was used extensively through the 1800s and early 1900s until Haleakala Highway was opened in 1935 ... ___....(size: 2.2Kb)
LA Weekly
18 Jan 2013
lapl.orgExploring the LAPL menu collection is an ongoing project in which we'll take a close look at the menus owned by the Los Angeles Public Library. Read about the project here. In the 1920's, the Santa Monica beachfront looked very different than it does today ... Irvin S. Cobb ... Cobb was a writer and humorist, who did some movie acting and hosted the 6th Academy Awards in 1935. This menu celebrated Cobb's 63rd birthday, on June 23, 1939 ... ....(size: 2.7Kb)
The Hindu
18 Jan 2013
As a prelude to the Ministry of Tourism’s ‘Land of Pi’ campaign, the Tourism Department plans to conduct a competition based on the Life of Pi at the Heritage Car Rally from Chennai to Puducherry, Director of Tourism A.S. Sivakumar told The-Hindu. Questionnaire on Life of Pi ... Sivakumar said ... Amongst the oldest cars that are expected to arrive in town, there is an Austin from 1927, and a Morris 8 Series 1 from 1935....(size: 3.0Kb)
Millennium: 2nd millennium
Centuries: 19th century20th century21st century
Decades: 1900s  1910s  1920s  – 1930s –  1940s  1950s  1960s
Years: 1932 1933 193419351936 1937 1938
1935 by topic:
Subject
By country
Leaders
Birth and death categories
Establishments and disestablishments categories
Works and introductions categories
1935 in other calendars
Gregorian calendar 1935
MCMXXXV
Ab urbe condita 2688
Armenian calendar 1384
ԹՎ ՌՅՁԴ
Assyrian calendar 6685
Bahá'í calendar 91–92
Bengali calendar 1342
Berber calendar 2885
British Regnal year 24 Geo. 5 – 25 Geo. 5
Buddhist calendar 2479
Burmese calendar 1297
Byzantine calendar 7443–7444
Chinese calendar 甲戌年十一月廿六日
(4571/4631-11-26)
— to —
乙亥年十二月初六日
(4572/4632-12-6)
Coptic calendar 1651–1652
Ethiopian calendar 1927–1928
Hebrew calendar 5695–5696
Hindu calendars
 - Vikram Samvat 1991–1992
 - Shaka Samvat 1857–1858
 - Kali Yuga 5036–5037
Holocene calendar 11935
Iranian calendar 1313–1314
Islamic calendar 1353–1354
Japanese calendar Shōwa 10
(昭和10年)
Julian calendar Gregorian minus 13 days
Korean calendar 4268
Minguo calendar ROC 24
民國24年
Thai solar calendar 2478

Year 1935 (MCMXXXV) was a common year starting on Tuesday (link will display full calendar) of the Gregorian calendar.

Events[link]

January[link]

February[link]

  • February 13Bruno Richard Hauptmann is convicted and sentenced to death for the kidnapping and murder of Charles Lindbergh, Jr.
  • February 15 – The discovery and clinical development of Prontosil, the first broadly effective antibacterial drug, is published in a series of articles in Germany's pre-eminent medical journal, Deutsche Medizinische Wochenschrift, by Gerhard Domagk.
  • February 22 – Airplanes are banned from flying over the White House.

March[link]

April[link]

May[link]

June[link]

July[link]

August[link]

September[link]

October[link]

October 22 page from a Soviet revolutionary calendar with six-day weeks.

November[link]

December[link]

Date unknown[link]

Births[link]

January–February[link]

March–April[link]

May–June[link]

July–August[link]

September–October[link]

November–December[link]

Hall of Famer Sandy Koufax

Date unknown[link]

Deaths[link]

January–March[link]

April–June[link]

July–September[link]

October–December[link]

Nobel Prizes[link]

References[link]

  1. ^ Ethiopia Military Tradition in National Life Library of Congress
  2. ^ Keglined.com: An Illustrated History of the American Beer Can
  3. ^ U.S. Senate
  4. ^ J. et T. Tréfouël, F. Nitti et D. Bovet, "Activité du p-aminophénylsulfamide sur l’infection streptococcique expérimentale de la souris et du lapin", C. R. Soc. Biol., 120, 23 november 1935, p. 756

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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/1935

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Morihei Ueshiba
植芝 盛平 Ueshiba Morihei

Morihei Ueshiba
Born (1883-12-14)December 14, 1883
Tanabe, Wakayama, Japan
Died April 26, 1969(1969-04-26) (aged 85)
Iwama, Ibaraki, Japan
of hepatocellular carcinoma
Nationality Japan Japanese
Style Founder of Aikido

Morihei Ueshiba (植芝 盛平 Ueshiba Morihei?, December 14, 1883 – April 26, 1969) was a famous martial artist and founder of the Japanese martial art of aikido. He is often referred to as "the founder" Kaiso (開祖?) or Ōsensei (大先生/翁先生?), "Great Teacher".

Contents

Early years[link]

Morihei Ueshiba was born in Tanabe, Wakayama Prefecture, Japan on December 14, 1883.[1] [2]

The only son of Yoroku and Yuki Ueshiba's five children, Morihei was raised in a somewhat privileged setting. His father was a rich landowner who also traded in lumber and fishing and was politically active. Ueshiba was a rather weak, sickly child and bookish in his inclinations. At a young age his father encouraged him to take up sumo wrestling and swimming and entertained him with stories of his great-grandfather Kichiemon who was considered a very strong samurai in his era. The need for such strength was further emphasized when the young Ueshiba witnessed his father being attacked by followers of a competing politician.[3]

Ueshiba is known to have studied several martial arts in his life but he did not train extensively in most and even his training in Yagyū Shingan-ryū was sporadic due to his military service in those years. Records show that he trained in Tenjin Shin'yō-ryū jujutsu under Tozawa Tokusaburō for a short period in 1901 in Tokyo; Gotō-ha Yagyū Shingan-ryū under Nakai Masakatsu from 1903 to 1908 in Sakai, and judo under Kiyoichi Takagi 1911 in Tanabe.[1] However, it was only after moving to the northern island of Hokkaidō in 1912 with his wife, as part of a settlement effort, that his martial art training took on real depth. For it was here that he began his study of Daitō-ryū aiki-jūjutsu under its reviver Takeda Sokaku.[1] He characterized his early training thus:

At about the age of 14 or 15. First I learned Tenjin Shin'yō-ryū Jujutsu from Tokusaburo Tozawa Sensei, then Kito-ryu, Yagyu-ryu, Aioi-ryu, Shinkage-ryu, all of those jujutsu forms. However, I thought there might be a true form of budo elsewhere. I tried Hozoin-ryu sojitsu and kendo. But all of these arts are concerned with one-to-one combat forms and they could not satisfy me. So I visited many parts of the country seeking the Way and training, but all in vain. ... I went to many places seeking the true budo. Then, when I was about 30 years old, I settled in Hokkaido. On one occasion, while staying at Hisada Inn in Engaru, Kitami Province, I met a certain Sokaku Takeda Sensei of the Aizu clan. He taught Daito-ryu jujutsu. During the 30 days in which I learned from him I felt something like an inspiration. Later, I invited this teacher to my home and together with 15 or 16 of my employees became a student seeking the essence of budo.

Did you discover aikido while you were learning Daito-ryu under Sokaku Takeda?

No. It would be more accurate to say that Takeda Sensei opened my eyes to budo.[4]

Takeda Sokaku and Daitō-ryū[link]

Retouched photograph of Takeda Sokaku c.1888

The technical curriculum of aikido was undoubtedly most greatly influenced by the teachings of Takeda Sokaku and his system of aiki-jūjutsu called Daitō-ryū.[1] Although disputed by some, the ledger books of Takeda clearly show that Ueshiba spent a great deal of time training in Daitō-ryū between 1915 and 1937. He received the majority of the important scrolls awarded by Takeda at this time including the Hiden Mokuroko, the Hiden Ogi and the Goshin'yo te. Ueshiba received his kyoju dairi certificate, or teaching license, for the system from Takeda in 1922. Takeda had not yet implemented a menkyo license, or highest level of achievement license, into his system at this time. He also received a Kashima Shinden Jikishinkage-ryū sword transmission scroll from Takeda in 1922 in Ayabe. Ueshiba then became a representative of Daitō-ryū, toured with Takeda as a teaching assistant and taught the system to others under the Daitō-ryū name.[1]

The basic techniques of aikido seem to have their basis in teachings from various points in the Daitō-ryū curriculum. A source of confusion is the different names used for these techniques in aikido and in the Daitō-ryū system. In part this is because Takeda Tokimune added much of the nomenclature after the period in which Ueshiba studied. In addition the names ikkajo, nikkajo, sankajo used in both Daitō-ryū and the early years of aikido, latter supplanted by terms such as ikkyo, nikkyo, sankyo, were really generic names translating to "first teaching", "second teaching", and so on.[5] In Daitō-ryū these usually refer to groupings of techniques while in aikido they usually refer to specific techniques and joint manipulations.

From aiki-jūjitsu to aikido[link]

In the earlier years of his teaching, from the 1920s to the mid 1930s, Ueshiba taught the aiki-jūjutsu system he had earned a license in from Takeda Sokaku. His early students' documents bear the term aiki-jūjutsu.[6] Indeed, Ueshiba trained one of the future highest grade earners in Daitō-ryū, Takuma Hisa, in the art before Takeda took charge of Hisa's training.[7]

The early form of training under Ueshiba was characterized by the ample use of strikes to vital points (atemi), a larger total curriculum, a greater use of weapons, and a more linear approach to technique than would be found in later forms of aikido. These methods are preserved in the teachings of his early students Kenji Tomiki (who founded the Shodokan Aikido sometimes called Tomiki-ryū), Noriaki Inoue (who founded Shin'ei Taidō), Minoru Mochizuki (who founded Yoseikan Budo), Gozo Shioda (who founded Yoshinkan Aikido) and Morihiro Saito (who preserved his early form of aikido under the Aikikai umbrella sometimes referred to as Iwama-ryū). Many of these styles are considered "pre-war styles", although some of the teachers continued to have contact and influence from Ueshiba in the years after the Second World War.

Later, as Ueshiba seemed to slowly grow away from Takeda, he began to implement more changes into the art. These changes are reflected in the differing names with which he referred to his art, first as aiki-jūjutsu,[6] then Ueshiba-ryū,[8] Asahi-ryū,[9] aiki budō,[10] and finally aikido.[11]

As Ueshiba grew older, more skilled, and more spiritual in his outlook, his art also changed and became softer and more circular. Striking techniques became less important and the formal curriculum became simpler. In his own expression of the art there was a greater emphasis on what is referred to as kokyū-nage, or "breath throws" which are soft and blending, utilizing the opponent's movement in order to throw them. Many of these techniques are rooted in the aiki-no-jutsu portions of the Daitō-ryū curriculum rather than the more direct jujutsu style joint-locking techniques.

Onisaburo Deguchi's spiritual influence[link]

After Ueshiba left Hokkaidō he came under the influence of Onisaburo Deguchi, the spiritual leader of the Ōmoto-kyō religion in Ayabe. In addition to the effect on his spiritual growth, this connection was to have a major effect in introducing Ueshiba to various elite political circles as a martial artist. The Ueshiba Dojo in Ayabe was used to train members of the Ōmoto-kyō sect. He was involved in the first Ōmoto-kyō Incident, an ill-fated attempt to found a utopian colony in Mongolia.[1] Although Ueshiba eventually distanced himself from both these teachers, their effect on him and his art cannot be overstated.

The real birth of Aikido came as the result of three instances of spiritual awakening that Ueshiba experienced. The first happened in 1925, after Ueshiba had defeated a naval officer's bokken (wooden katana) attacks unarmed and without hurting the officer. Ueshiba then walked to his garden and had a spiritual awakening.

Onisaburo Deguchi
...I felt the universe suddenly quake, and that a golden spirit sprang up from the ground, veiled my body, and changed my body into a golden one. At the same time my body became light. I was able to understand the whispering of the birds, and was clearly aware of the mind of God, the creator of the universe.

At that moment I was enlightened: the source of budo is God's love - the spirit of loving protection for all beings... Budo is not the felling of an opponent by force; nor is it a tool to lead the world to destruction with arms. True Budo is to accept the spirit of the universe, keep the peace of the world, correctly produce, protect and cultivate all beings in nature.[12]

His second experience occurred in 1940 when,

"Around 2am as I was performing misogi, I suddenly forgot all the martial techniques I had ever learned. The techniques of my teachers appeared completely new. Now they were vehicles for the cultivation of life, knowledge, and virtue, not devices to throw people with."[citation needed]

His third experience was in 1942 during the worst fighting of WWII, Ueshiba had a vision of the "Great Spirit of Peace".[2]

"The Way of the Warrior has been misunderstood. It is not a means to kill and destroy others. Those who seek to compete and better one another are making a terrible mistake. To smash, injure, or destroy is the worst thing a human being can do. The real Way of a Warrior is to prevent such slaughter - it is the Art of Peace, the power of love."[citation needed]

In 1927, Ueshiba moved to Tokyo where he founded his first dojo, which still exists today under the name Aikikai Hombu Dojo. Between 1940 and 1942 he made several visits to Manchukuo (Japanese occupied Manchuria) to instruct his martial art. In 1942 he left Tokyo and moved to Iwama in the Ibaraki Prefecture where the term "aikido" was first used as a name for his art. Here he founded the Aiki Shuren Dojo, also known as the Iwama dojo. During all this time he traveled extensively in Japan, particularly in the Kansai region teaching his aikido.

In 1969, Morihei Ueshiba became ill. He died suddenly on April 26, 1969 of cancer.[13] Two months later, his wife Hatsu (植芝 はつ; Ueshiba Hatsu, née Itokawa Hatsu; 1881–1969)[14] died in turn. His son Kisshomaru Ueshiba carried forward.

Legacy[link]

In an interview Shoji Nishio reported : "At that time, a former Karate sensei of the Butokukai named Toyosaku Sodeyama who was running Konishi Sensei’s dojo and also teaching there came up to me and said: “I met someone who is like a ‘phantom’. I couldn’t strike him even once.” I was amazed that there was someone that even Sodeyama Sensei couldn’t strike. It was O-Sensei."[15]

To this day, Ōmoto-kyō priests oversee a ceremony in Ueshiba's honor every April 29 at the Aiki Shrine in Iwama.

Over the years, Ueshiba trained a large number of students, many of whom have grown into great teachers in their own right. Some of them were uchideshi, or live-in students. There are roughly four generations of students. A partial list follows:[16][17][18]

First (pre-war) generation
(c.1921–c.1935)
Second (war) generation
(c.1936–c.1945)
Third (post-war) generation
(c.1946–c.1955)
Fourth (and last) generation
(c.1956–c.1969)
  • Tadashi Abe (1926–1984) since 1942, 6th dan
  • Minoru Hirai (1903–1998) since 1939, founder of the Korindo style.
  • Kisaburo Osawa (1911–1991) since 1941, 9th dan
  • Kanshū Sunadomari (1923–2010) since 1942, 9th dan
  • Bansen Tanaka (1912–1988) since 1936, 9th dan
  • Saburo Tenryū (1903–1989) since 1939, he was a famous sumo wrestler
  • Koichi Tohei (1920–2011) since 1939, only 10th dan awarded by Ueshiba and approved by Aikikai
  • Michio Hikitsuchi (1923–2004) since 1937, 10th dan (verbally awarded by Ueshiba), opened Shingu's Kumano Juku in 1951 (when he was 7th dan)
  • Yamada Senta (1924–2010) live-in student in Wakayama & toured Japan with Ueshiba. Student of Jigoro Kano, 6th dan Aiki & Judo, later trained with Kenji Tomiki

Personal traits[link]

Morihei Ueshiba regularly practiced cold water misogi, as well as other spiritual and religious rites. He viewed his studies of aikido in this light.[19]

As a young man, Ueshiba was renowned for his incredible physical strength. He would later lose much of this muscle, which some believe changed the way he performed aikido technique[20]

Ueshiba was said to be a simple but wise man, and a gifted farmer. In his later years, he was regarded as very kind and gentle as a rule, but there are also stories of terrifying scoldings delivered to his students. For instance, he once thoroughly chastised students for practicing (staff) strikes on trees without first covering them in protective padding. Another time, as students sneaked back into the dojo after a night of drinking and brawling, he smashed the first one through the door over the head with a bokken (wooden practice sword), and proceeded to scold them.

Morihei Ueshiba played the game of Go often. During one game with Sokaku Takeda, Takeda utilized the Goban as a weapon against a man he mistook for an assassin. The "assassin" was actually a friend of Ueshiba, and had arrived in a scarf due to bad weather. The scarf hid the man's identity, triggering Takeda's paranoia as, at the time, many people actually were trying to kill him.[21]

Honors[link]

Works[link]

See also[link]

References[link]

  1. ^ a b c d e f Pranin, Stanley (2006). "Ueshiba, Morihei". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia.php?entryID=723. 
  2. ^ a b Ueshiba, Morihei (1992). The Art of Peace. Boston, Massachusetts: Shambhala Publications, Inc.. pp. 5–10. ISBN 0-87773-851-3. 
  3. ^ Stevens, John.Aikido; the Way of Harmony. Shambhala Publications, Boston, 1984.
  4. ^ Pranin, Stanley (2006) "Interview with Kisshomaru and Morihei Ueshiba" Aikidojournal.com
  5. ^ Pranin, Stanley (2006). "Ikkyo". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=289. 
  6. ^ a b Pranin, Stanley (2006). "Aikijujutsu". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=31. 
  7. ^ Pranin, Stanley (2006). "Hisa Takuma". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=267. 
  8. ^ Pranin, Stanley (2006). "Ueshiba-ryu". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=733. 
  9. ^ Pranin, Stanley (2006)"Sokaku Takeda in Osaka" Aikidojournal.com
  10. ^ Pranin, Stanley (2006). "Aiki Budo". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=11. 
  11. ^ Pranin, Stanley (2006). "Aikido". Encyclopedia of Aikido. http://www.aikidojournal.com/encyclopedia?entryID=18. 
  12. ^ Ueshiba, Kisshomaru. Aikido Hozansha Publications, Tokyo, 1985.
  13. ^ Interview with Shoji Nishio (1984), Part 1 "His face was really beautiful like a Noh mask of an old man. If one dies of cancer, there is usually a lot of suffering and the pain remains on the face. But, that wasn’t the case with 0-Sensei. He had a divinely beautiful face."
  14. ^ Dang, P. T., & Seiser, L. (2006): Advanced Aikido (p. 3). Tokyo: Tuttle. (ISBN 978-0-8048-3785-9)
  15. ^ Interview with Shoji Nishio (1984), held on May 22, 1983 in Tokyo
  16. ^ Aikido Journal Encyclopedia
  17. ^ List of Deshi
  18. ^ Interview with Kisshomaru Ueshiba in Aikido Journal
  19. ^ Phong Thong Dang, Lynn Seiser; Advanced Aikido Tuttle Publishing, 2006 ISBN 978-0-8048-3785-9 p17
  20. ^ Stone, J and Myer, R; Aikido in America, Frog Books, 1995, ISBN 978-1-883319-27-4 p2
  21. ^ Stevens, John. Invincible Warrior. ISBN 1-57062-394-5.
  22. ^ a b North Austin Tae Kwan Do: "Chronology of the Life of Morihei Ueshiba, Founder of Aikido."
  23. ^ L'Harmattan web site (in French)

External links[link]

Preceded by
(none)
Dōshu of Aikikai
1940 – April 26, 1969
Succeeded by
Kisshomaru Ueshiba
Preceded by
(none)
Dōjōcho of Iwama Dōjō
1942–1964
Succeeded by
Morihiro Saitō
Preceded by
(none)
Dojocho of Aikikai Hombu Dojo
1931-1969
Succeeded by
Koichi Tohei


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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Morihei_Ueshiba

This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.


Jay Leno

Leno in July 2008
Birth name James Douglas Muir Leno
Born (1950-04-28) April 28, 1950 (age 62)[1]
New Rochelle, New York, U.S.[1]
Medium Television, Film, Stand up
Nationality American
Years active 1973–present
Genres Observational comedy, Political satire
Subject(s) American culture, Everyday life
Influences Johnny Carson, Robert Klein, Alan King, George Carlin,[2] Don Rickles, Bob Newhart, Rodney Dangerfield
Influenced Dennis Miller[3]
Spouse Mavis Leno (1980–present)
Notable works and roles The Tonight Show with Jay Leno (host, 1992–2009, 2010–)
The Jay Leno Show
(host, 2009–2010)
Signature Jay Leno Autograph.svg
Website The Tonight Show with Jay Leno
Emmy Awards
Outstanding Variety, Music or Comedy Series
1995 The Tonight Show with Jay Leno

James Douglas Muir "Jay" Leno /ˈlɛn/ (born April 28, 1950)[1] is an American stand-up comedian and television host.

From 1992 to 2009, Leno was the host of NBC's The Tonight Show with Jay Leno. Beginning in September 2009, Leno started a primetime talk show, titled The Jay Leno Show, which aired weeknights at 10:00 p.m. (Eastern Time, UTC-5), also on NBC. After The Jay Leno Show was canceled in January 2010 amid a host controversy, Leno returned to host The Tonight Show with Jay Leno on March 1, 2010.[4]

Contents

Early life[link]

James "Jay" Leno was born in New Rochelle, New York, in 1950. His mother, Catherine (née Muir; 1911–1993), a homemaker, was born in Greenock, Scotland, and came to the United States at age 11. Leno's father, Angelo (1910–1994), who worked as an insurance salesman, was born in New York to immigrants from Flumeri, Italy.[5] Leno grew up in Andover, Massachusetts, and although his high school guidance counselor recommended that he drop out of school, he later obtained a Bachelor's degree in speech therapy from Emerson College, where he started a comedy club in 1973.[6] Leno's siblings include his late older brother, Patrick, who was a Vietnam veteran[7] and a lawyer.[6]

Career[link]

During the 1970s, Leno appeared in minor roles in several television series and films, first in the 1976 episode "J.J. in Trouble" of Good Times and the same year in the pilot of Holmes & Yo-Yo. After an uncredited appearance in the 1977 film Fun with Dick and Jane, he played more prominent parts in 1978 in American Hot Wax and Silver Bears. Other films and television series from that period include Almost Heaven (1978), "Going Nowhere" (1979) from One Day at a Time, Americathon (1979), Polyester (1981), "The Wild One" (1981) from Alice, "Feminine Mistake" (1979) and "Do the Carmine" (1983) from Laverne & Shirley.

[edit] The Tonight Show

Leno in 1993, shortly after becoming host of The Tonight Show

Starting in 1987, Leno was a regular substitute host for Johnny Carson on The Tonight Show. In 1992, he replaced Carson as host[8] amid controversy with David Letterman, who had been hosting Late Night with David Letterman since 1982 (aired after The Tonight Show), who many had expected to be Carson's successor. The story of this turbulent transition was later turned into a book and a movie. Leno continued to perform as a stand-up comedian throughout his tenure on The Tonight Show.

In 2004, Leno signed a contract extension with NBC which would keep him as host of The Tonight Show until 2009.[9] Later in 2004, Conan O'Brien signed a contract with NBC under which O'Brien would become the host of The Tonight Show in 2009, replacing Leno at that time.[10]

During the 2007–08 Writers Guild of America strike, Leno was accused of violating WGA guidelines by writing his own monologue for The Tonight Show. While NBC and Leno claim there were private meetings with the WGA where there was a secret agreement allowing this, the WGA denied such a meeting.[11] Leno answered questions in front of the Writers Guild of America, West trial committee in February 2009 and June 2009, and when the WGAW published its list of strike-breakers on 11 August 2009, Leno was not on the list.[12][13]

In 1998, Leno competed in a tag-team match at the WCW's "Road Wild" pay-per-view . In 2001, he voiced The Crimson Chin, a superhero in the Nickelodeon animated series The Fairly OddParents and continues to do so today.

Leno said in 2008 that he was saving all of his income from The Tonight Show and living solely off his income from stand-up comedy.[14]

On April 23, 2009, Leno checked himself into a hospital with an undisclosed illness.[15] He was released the following day and returned to work on Monday, April 27. The two subsequently cancelled Tonight Show episodes for April 23 and April 24 were Leno's first in 17 years as host.[16][17] Initially, the illness that caused the absence was not disclosed, but later Leno told People magazine that the ailment was exhaustion.[17][18]

Michael Jackson trial[link]

In the 2005 trial of Michael Jackson over allegations of child molestation, Leno appeared as a defense witness (many celebrity defense witnesses had been expected, but Leno was one of the few whose testimony was actually needed). In his testimony regarding a call by the accuser, Leno testified that he never called the police, that no money was asked for, and there was no coaching — but that the calls seemed unusual and scripted.[19]

Leno in 2006.

As a result, Leno was initially not allowed to continue telling jokes about Jackson or the case, which had been a fixture of The Tonight Show's opening monologue in particular. But he and his show's writers used a legal loophole by having Leno briefly step aside while stand-in comedians took the stage and told jokes about the trial. Stand-ins included Roseanne Barr, Drew Carey, Brad Garrett, and Dennis Miller among others.[20]

[edit] Succession by Conan O'Brien and The Jay Leno Show

Because Leno's show continued to lead all late-night programming in the Nielsen ratings, the pending expiration of Leno's contract led to speculation about whether he would become a late-night host for another network after his commitment to NBC expired.[21] Leno left The Tonight Show on Friday May 29, 2009,[22][23] and Conan O'Brien took over on June 1, 2009.

On December 8, 2008, it was reported that Leno would remain on NBC and move to a new hour-long show at 10 p.m. Eastern Time (9 p.m. Central Time) five nights a week.[24] This show follows a similar format to The Tonight Show, tapes at the same lot, and retains many of Leno's most popular segments. Late Night host Conan O'Brien was his successor on The Tonight Show.[25]

Jay Leno's new show, titled The Jay Leno Show, debuted on September 14, 2009. It was announced at the Television Critics Association summer press tour that it would feature one or two celebrities, the occasional musical guest, and keep the popular "Headlines" segments, which would air near the end of the show. First guests included Jerry Seinfeld, Oprah Winfrey (via satellite), and a short sit-down with Kanye West discussing his controversy at the 2009 MTV Video Music Awards.[26]

[edit] Timeslot conflict and return to The Tonight Show

In their new roles, neither O'Brien nor Leno succeeded in delivering the viewing audiences the network anticipated. On January 7, 2010, multiple media outlets reported that beginning March 1, 2010, Jay Leno would move from his 10pm weeknight time slot to 11:35pm, due to a combination of pressure from local affiliates whose newscasts were suffering, and both Leno's and O'Brien's poor ratings.[27][28] Leno's show would be shortened from an hour to 30 minutes. All NBC late night programming would be preempted by the 2010 Winter Olympics between February 15 and February 26. This would move The Tonight Show to 12:05am, a post-midnight timeslot for the first time in its history. O'Brien's contract stipulated that NBC could move the show back to 12:05 a.m. without penalty (a clause put in primarily to accommodate sports preemptions).[29]

On January 10, NBC confirmed that they would move Jay Leno out of primetime as of February 12 and intended to move him to late night as soon as possible.[30][31] TMZ reported that O'Brien was given no advance notice of this change, and that NBC offered him two choices: an hour-long 12:05am time slot, or the option to leave the network.[32] On January 12, O'Brien issued a press release that stated he would not continue with Tonight if it moved to a 12:05am time slot,[33] saying, "I believe that delaying The Tonight Show into the next day to accommodate another comedy program will seriously damage what I consider to be the greatest franchise in the history of broadcasting. The Tonight Show at 12:05 simply isn’t The Tonight Show."

On January 21, it was announced that NBC had struck a deal with O'Brien. It was decided that O'Brien would leave The Tonight Show. The deal was made that O'Brien would receive a $33 million payout and that his staff of almost 200 would receive $12 million in the departure. O'Brien's final episode aired on Friday, January 22.[34][35][36] Leno returned as host of The Tonight Show following the 2010 Winter Olympics on March 1, 2010.

On July 1, 2010, Variety reported that total viewership for Jay Leno's Tonight Show had dropped from 5 million to 4 million for the second quarter of 2010, compared to the same period in 2009. Although this represented the lowest second-quarter ratings for the show since 1992, Tonight was still the most-watched late night program, ahead of ABC's Nightline (3.7 million) and David Letterman's Late Show (3.3 million).[37] Ratings over the following summer, when compared to the same period in 2009 with O'Brien hosting The Tonight Show (including O'Brien's highly rated debut), showed that while total viewership was 12% higher for Leno, viewership in the important "adults aged 18–49" demographic was 23% lower.[38] NBC ratings specialist Tom Bierbaum commented that due to the host being out of late night television for a period of time and the subsequent 2010 Tonight Show conflict, Leno's ratings fall was "not a surprise at all".[39]

Public image[link]

Criticism of Leno[link]

Leno on The Tonight Show in 2005

Leno has faced heated criticism and some negative publicity for his perceived role in the 2010 Tonight Show timeslot conflict.[40][41] Critics have pointed to a 2004 Tonight Show clip, wherein Leno claimed he would allow O'Brien to take over without incident.[41][42] At the time, Leno stated he didn't want O'Brien to leave for a competing network, adding, "I'll be 59 when [the switch occurs], that's five years from now. There's really only one person who could have done this into his 60s, and that was Johnny Carson; I think it's fair to say I'm no Johnny Carson."[42] Leno also described The Tonight Show as a dynasty, saying "you hold it and hand it off to the next person. And I don't want to see all the fighting..." At the end of the segment, he said, "Conan, it's yours! See you in five years, buddy!"[43]

Actor and comedian Patton Oswalt was among the first celebrities to openly voice disappointment with Leno, saying, "Comedians who don't like Jay Leno now, and I'm one of them, we're not like, 'Jay Leno sucks;' it's that we're so hurt and disappointed that one of the best comedians of our generation... willfully has shut the switch off."[44] Rosie O'Donnell has been among O'Brien's most vocal and vehement supporters,[45][46] calling Leno a "bully" and his recent actions "classless and kind of career-defining."[47]

Bill Zehme, the co-author of Leno's autobiography Leading with My Chin, told the Los Angeles Times: "The thing Leno should do is walk, period. He's got everything to lose in terms of public popularity by going back. People will look at him differently. He'll be viewed as the bad guy."[48]

Support for Leno[link]

NBC Sports head executive and former Saturday Night Live producer Dick Ebersol spoke out against all who had recently mocked Leno, calling them "chicken-hearted and gutless."[49]

Jeff Gaspin also defended Leno: "This has definitely crossed the line. Jay Leno is the consummate professional and one of the hardest-working people in television. It's a shame that he's being pulled into this."[48]

Paul Reiser and Jerry Seinfeld are two of the number of celebrities to have voiced support for Leno.[50][51]

Responding to the mounting criticism, Leno claimed that NBC had assured him that O'Brien was willing to accept the proposed arrangement and then would not let either host out of his contract.[52] Leno also said that the situation was "all business."[52] He appeared on the January 28 episode of The Oprah Winfrey Show in an attempt to repair some of the damage done to his public image.[53][54]

Personal life[link]

Leno with President Barack Obama in March 2009

Leno has been married since 1980 to Mavis Leno; they have no children.[55]

He is known for his prominent jaw, which has been described as mandibular prognathism.[56] In the book Leading with My Chin he stated that he is aware of surgery that could reset his mandible, but does not wish to endure a prolonged healing period with his jaws wired shut.

Leno is dyslexic.[6] He claims to sleep only four to five hours each night.[57] Leno does not drink or smoke, nor does he gamble.[58] He spends most of his free time visiting car collections or working in his private garage.[58]

Leno reportedly earns $32 million each year;[59] his total net worth is unknown, but has been estimated to be at least $150 million.[60]

Charity[link]

In 2001, along with his wife, he donated $100,000 to the Feminist Majority's campaign to stop gender apartheid in Afghanistan, to educate the public regarding the plight of women in Afghanistan under Taliban rule. Mavis Leno is on the board of the Feminist Majority.[61][62]

In 2009, he donated $100,000 to a scholarship fund at Salem State College in honor of Lennie Sogoloff. Mr. Sogoloff gave Leno his start at his jazz club, Lennie's-on-the-Turnpike.[63]

Love Ride[link]

Since 1985 Jay Leno has been the grand marshal for the Love Ride, a motorcycle charity event which since its founding in 1984 has raised nearly $14 million dollars for charities benefiting muscular dystrophy research and, in 2011, Autism Speaks.[citation needed]

Leno arriving at the 45th Primetime Emmy Awards in his Hispano-Suiza Aero[64]

Vehicle collection[link]

Leno owns approximately 100 vehicles, not including about 90 motorcycles.[65] He also has a website called "Jay Leno's Garage," which contains video clips and photos of his automobiles in detail.[66]

He has a regular column in Popular Mechanics which showcases his car collection and gives advice about various automotive topics, including restoration and unique models, such as his jet-powered motorcycle and solar-powered hybrid. Leno also writes occasional "Motormouth" articles for The Sunday Times,[67] reviewing high-end sports cars and giving his humorous take on automotive matters.

References[link]

  1. ^ a b c "Jay Leno Biography". The New York Times. http://movies.nytimes.com/person/1548610/Jay-Leno/biography. Retrieved February 3, 2009. 
  2. ^ Breuer, Howard, and Stephen M, Silverman (2008-06-24). "Carlin Remembered: He Helped Other Comics with Drug Problems". People. Time Inc.. http://www.people.com/people/article/0,20208460,00.html?xid=rss-fullcontentcnn. Retrieved 2008-06-24. 
  3. ^ James Hirsen, Dennis Miller: Why I 'Ascended' to the Right, NewsMax.com, February 5, 2004.
  4. ^ Adalian, Josef (January 21, 2010). "Exclusive: Conan, NBC Officially Splitsville (Updated)". The Wrap. http://www.thewrap.com/ind-column/new-nbc-breaking-story-13241. Retrieved January 21, 2010. 
  5. ^ "Jay Leno Biography (1950–)". Film Reference. http://www.filmreference.com/film/70/Jay-Leno.html. Retrieved May 11, 2008. 
  6. ^ a b c Carter, Bill. "Pushed From Late Night, Leno Is Set for Prime Time" The New York Times, 12 September 2009.
  7. ^ Aivaz, Mike (October 18, 2007). "Obama on Leno: Hillary has declared 'mission accomplished' too soon". The Raw Story. http://rawstory.com/news/2007/Obama_takes_jab_at_Clinton_on_1018.html. Retrieved May 11, 2008. [dead link]
  8. ^ "Carson cuts appearances". Rome News-Tribune. Associated Press (Rome, Ga.): p. 14. June 2, 1987. http://news.google.com/newspapers?id=NQMIAAAAIBAJ&sjid=SzYDAAAAIBAJ&pg=5008,192179&dq=tonight+jay-leno+shandling. Retrieved October 26, 2008. 
  9. ^ "NBC signs Jay Leno to contract extension". USA Today. Associated Press. March 31, 2004. http://www.usatoday.com/life/television/news/2004-03-30-leno-contract-extended_x.htm. Retrieved October 26, 2008. 
  10. ^ Carter, Bill (September 27, 2004). "Conan O'Brien to Succeed Jay Leno in 2009, NBC Announces". The New York Times. http://www.nytimes.com/2004/09/27/business/media/28CND-NBC.html?pagewanted=print&position=. Retrieved October 26, 2008. 
  11. ^ "LENO/WGA: WHAT'S THE REAL STORY? NBC Claims Jay Asked For & Received WGA Permission To Write Monologue At Secret Monday Meeting With Verrone". Deadline Hollywood Daily. http://www.deadlinehollywooddaily.com/lenowga-whats-the-real-story-nbc-claims-jay-asked-for-received-wga-permission-to-write-monologue-at-monday-meeting-with-verrone-et-al/. Retrieved May 11, 2008. 
  12. ^ Verrier, Richard (2009-08-11). "WGA: No chin music for Jay Leno". Company Town (Los Angeles Times). http://latimesblogs.latimes.com/entertainmentnewsbuzz/2009/08/guild-clears-jay-leno-of-violating-strike-rules.html. Retrieved 2009-08-14. 
  13. ^ Littleton, Cynthia (2009-08-11). "Jay Leno cleared of strike violations; WGA West issues penalties in three cases". Variety (New York City: Reed Business Information). http://www.variety.com/article/VR1118007189.html?categoryId=2821&cs=1. Retrieved 2009-08-14. 
  14. ^ della Cava, Marco (July 17, 2008). "Jay Leno Gears up for Life After 'Tonight'". USA Today. http://www.usatoday.com/life/people/2008-07-16-leno-cover_N.htm. Retrieved 2009-04-25. 
  15. ^ Hannah, Jack (2009-04-23). "Jay Leno hospitalized; 'Tonight Show' tapings canceled". CNN.com (Cable News Network). http://edition.cnn.com/2009/SHOWBIZ/TV/04/23/leno.hospitalized/index.html. Retrieved 2009-08-14. 
  16. ^ Dillon, Nancy (April 24, 2009). "Jay Leno released from the hospital". New York: NYDailyNews. http://www.nydailynews.com/entertainment/tv/2009/04/24/2009-04-24_rep_jay_leno_hospital_trip_precautionary_late_night_host_to_be_released_friday.html. Retrieved 2009-04-24. 
  17. ^ a b "Jay Leno misses first show in 17 years". Canada.com. Reuters (Winnipeg, Manitoba: Canwest Publishing Inc.). 2009-04-24. http://www.canada.com/News/Leno+misses+first+show+years/1530668/story.html. Retrieved 2009-08-14. 
  18. ^ Warrick, Pamela (2009-05-01). "Jay Leno Reveals Mystery Ailment: Exhaustion". People.com (Time Inc.). http://www.people.com/people/article/0,,20276256,00.html. Retrieved 2009-08-14. 
  19. ^ Sweetingham, Lisa (May 24, 2005). "Comedians Jay Leno and Chris Tucker testify for Michael Jackson". Court TV. http://www.courttv.com/trials/jackson/052405_ctv.html. Retrieved May 11, 2008. 
  20. ^ Bryant, Karyn (2005-03-08). "Showbiz Tonight". CNN. http://transcripts.cnn.com/TRANSCRIPTS/0503/08/sbt.01.html. Retrieved 2008-05-11. 
  21. ^ Moore, Frazier (May 18, 2008). "NBC's Jay Leno-Conan O'Brien swap prompts rumors". Newsday. Associated Press. http://www.newsday.com/entertainment/tv/ny-fftv5685783may18,0,4188633.story?track=rss. Retrieved October 26, 2008. [dead link]
  22. ^ Carter, Bill (July 22, 2008). "Date Is Set for Leno's 'Tonight' Finale". The New York Times. http://www.nytimes.com/2008/07/22/arts/television/22late.html?n=Top/Reference/Times%20Topics/Subjects/T/Television. Retrieved October 26, 2008. 
  23. ^ Carter, Bill (2009-05-30). "Jay Leno Takes Final Bow on ‘Tonight Show’". The New York Times. http://www.nytimes.com/2009/05/30/arts/television/30leno.html?em. Retrieved 2009-05-30. 
  24. ^ Carter, Bill (December 9, 2008). "Where Is Leno Going? To Prime Time, on NBC". The New York Times. http://www.nytimes.com/2008/12/09/business/media/09leno.html?em. Retrieved May 6, 2010. 
  25. ^ "Leno's last 'Tonight' announced". CNN.com. Associated Press. July 21, 2008. Archived from the original on July 24, 2008. http://web.archive.org/web/20080724101827/http://www.cnn.com/2008/SHOWBIZ/TV/07/21/tv.nbc.tonight.ap/index.html. Retrieved July 21, 2008. "Leno's last show was Friday, May 29, and O'Brien started the following Monday, June 1, NBC executives told a Television Critics Association meeting Monday." 
  26. ^ Jay Leno Reveals What To Expect From His New Primetime Show
  27. ^ "Future For NBC's Tonight Show Up In The Air", Los Angeles Times, January 2010.
  28. ^ "Jay Leno Heading Back To Late Night, Conan O’Brien Weighing Options".
  29. ^ Finke, Nikki (2010-01-07). NBC ON THE HOT SEAT: Will It Be Jay AND Conan In Late Night? What's The Reason For Leno's Anti-NBC Monologue Tonight?. Retrieved 2010-01-09.
  30. ^ "NBC confirms move of "Leno Show"[dead link]"
  31. ^ "Update: NBC Plans Leno at 11:30, Conan at 12", The New York Times, 7 January 2010.
  32. ^ "NBC to Conan O'Brien – The Choice Is Yours", TMZ, 8 January 2010.
  33. ^ Conan Won't Do "The Tonight Show" Following Leno, MSNBC.com, 12 January 2010.
  34. ^ Robert Seidman , NBC Announces That Jay Leno Will Return To Host “The Tonight Show” Beginning March 1, tvbythenumbers.com, 21 January 2010.
  35. ^ NBC Universal Confirms Conan O’Brien Exit Deal Signed from Bloomberg via Business Week
  36. ^ Conan O'Brien, NBC reach deal[dead link] from CBC News
  37. ^ Levine, Stuart (2010-07-01). "'Kimmel,' 'Nightline' show demo increase". Variety. http://www.variety.com/article/VR1118021316.html?categoryid=14&cs=1. 
  38. ^ Pike, Julie (September 7, 2010). "Tonight Show Ratings Plummet – Jay Leno Sinks Beneath Conan O'Brien Numbers". The National Ledger (The National Ledger, LLC). http://www.nationalledger.com/cgi-bin/artman/exec/view.cgi?archive=53&num=34570. Retrieved 2010-10-04. 
  39. ^ Piccalo, Gina (October 24, 2010). "Comedians Laugh as Leno Sinks". The Daily Beast. http://www.thedailybeast.com/blogs-and-stories/2010-10-24/jay-lenos-sinking-tonight-show-ratings-will-conan-obrien-get-the-last-laugh/. Retrieved 2010-10-26. 
  40. ^ The Wall Street Journal article: "Why Some Comics Aren’t Laughing at Jay Leno".
  41. ^ a b Kansas City Star article: "Jay Leno is Mr. Nice Guy no more — but was he ever?[dead link]".
  42. ^ a b Digital Journal article: Jay Leno in 2004: "In '09, Conan, it's yours"
  43. ^ Funnyordie.com: 2004 Tonight Show Clip: "Conan, It's yours!"
  44. ^ The Huffington Post article: "Patton Oswalt: Jay Leno Is Like Nixon, I Don't Like Him".
  45. ^ Porter, Rick (2010-01-14). "Rosie O'Donnell is on Team Conan". Zap2it. http://blog.zap2it.com/thedishrag/2010/01/rosie-odonnell-is-on-team-conan.html. Retrieved 2009-01-15. 
  46. ^ New York Daily News article: "Rosie O'Donnell, Jimmy Kimmel slam Jay Leno over Tonight Show battle."
  47. ^ New York Magazine article: "Rosie O’Donnell Has More to Say About Jay Leno."
  48. ^ a b Los Angeles Times article: "Taking on America's 'nice guy'", p. 2.
  49. ^ Los Angeles Times article: "Taking on America's 'nice guy'".
  50. ^ The Huffington Post article: "Paul Reiser: A Teachable Moment."
  51. ^ The Wrap article: "Seinfeld on Jay-Conan Debacle: 'I Can't Blame NBC'."
  52. ^ a b Entertainment Weekly article: "Jay Leno Tries to Make Nice, While Conan Rallies the Troops."
  53. ^ Perez Hilton article: "Oprah Shows Some Tonight Show Love".
  54. ^ TV.com article: "Confirmed, Jay Leno to Restore Reputation on 'Oprah'[dead link]".
  55. ^ "Jay Leno". Who's Who in America. Marquis. http://www.whoswhoinamerica.com/jay_leno/talk_show_host_comedian_writer/occ28/5463136. 
  56. ^ Chudley, A.E. (October 1998). "Genetic landmarks through philately – The Habsburg jaw". Clinical Genetics 54 (4): 283–284. DOI:10.1034/j.1399-0004.1998.5440404.x. PMID 9831338. 
  57. ^ Mike McLeod, Jay Leno – The Tonight Show's $1 Billion Man Collects Cars and Motorcycles, go-star.com
  58. ^ a b Nevada Magazine article: "Classic cars and comedy".
  59. ^ Forbes article: "Jay Leno – The Top 100 Celebrities".
  60. ^ CelebrityNetWorth.com: "Jay Leno's Net Worth."
  61. ^ "Hollywood's Latest Cause: Can A Pack Of Celebrities Save Afghanistan's Women?". Newsweek. December 6, 1999. http://www.newsweek.com/id/90455/output/print. 
  62. ^ Greenberg, Susan H. (February 21, 2000). "So Many Causes, So Little Time Save The Rain Forest! Free Tibet! For Today's Stars, There's No Business Like Fund-Raising Business". Newsweek. http://www.newsweek.com/id/82834. 
  63. ^ "Leno says thanks with $100k check". The Boston Herald. April 12, 2009. http://www.boston.com/news/local/massachusetts/articles/2009/04/12/leno_says_thanks_with_100k_check. Retrieved November 29, 2009. 
  64. ^ Update: 1915 Hispano-Suiza Aero Engine Car (video), jaylenosgarage.com
  65. ^ The Cars, jaylenosgarage.com
  66. ^ "Jay Leno's Garage". Official Website. http://www.jaylenosgarage.com. 
  67. ^ Moran, Michael (May 9, 2007). "Jay Leno's million dollar garage". London: The Times. http://driving.timesonline.co.uk/tol/life_and_style/driving/article1746609.ece. Retrieved May 11, 2008. 

External links[link]

Media offices
Preceded by
Conan O'Brien
Host of The Tonight Show
March 1, 2010–present
Succeeded by
incumbent
Preceded by
Johnny Carson
Host of The Tonight Show
May 25, 1992 – May 29, 2009
Succeeded by
Conan O'Brien

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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Jay_Leno

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Sir Alfred Hitchcock

Studio publicity photo
Born Alfred Joseph Hitchcock
(1899-08-13)13 August 1899
Leytonstone, London, England, UK
Died 29 April 1980(1980-04-29) (aged 80)
Bel Air, California, US
Other names Hitch
The Master of Suspense
Occupation Film director, film producer
Years active 1921–76
Influenced by D. W. Griffith, Fritz Lang, Sergei Eisenstein,[1] F.W. Murnau[2]
Influenced Brian De Palma, François Truffaut, Steven Spielberg, Martin Scorsese, Claude Chabrol, Robert Zemeckis, M. Night Shyamalan, David Lynch, Stanley Kubrick, Dario Argento, John Carpenter, Jonathan Demme, Tim Burton, Mel Brooks, David Fincher
Religion Roman Catholic[3]
Spouse Alma Reville
(m.1926-80; his death)
Children Patricia Hitchcock
Parents William Hitchcock (father)
Emma Jane Whelan (mother)

Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)[4] was an English film director and producer.[5] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in British cinema in both silent films and early talkies, Hitchcock moved to Hollywood. On 19 April 1955, he became an American citizen while remaining a British subject.

Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.[6] He pioneered the use of a camera made to move in a way that mimics a person's gaze, forcing viewers to engage in a form of voyeurism.[7] He framed shots to maximise anxiety, fear, or empathy, and used innovative film editing.[7] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.[8] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon. Hitchocks reputation as a filmmaker is offset by claims that he engaged in obsessive and controlling behaviour towards many of his leading ladies, and that in some cases this extended to physical abuse and sexual harrassment.[9]

Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."[10][11] The magazine MovieMaker has described him as the most influential filmmaker of all time,[12] and he is widely regarded as one of cinema's most significant artists.[13]

Contents

Early life[link]

Hitchcock mosaic at Leytonstone Station

Hitchcock was born on 13 August 1899 in Leytonstone, London, England, the second son and youngest of three children of William Hitchcock (1862–1914), a greengrocer and poulterer, and Emma Jane Hitchcock (née Whelan; 1863–1942). Named Alfred after his father's brother, Hitchcock was raised Catholic and was sent to Salesian College (London)[14] and the Jesuit Classic school St Ignatius' College in Stamford Hill, London.[15][16] His mother and paternal grandmother were of Irish extraction.[17][18] He often described his childhood as being very lonely and sheltered, a situation compounded by his obesity.[19]

Around the age of 5, according to Hitchcock, he was sent by his father to the local police station with a note asking the officer to lock him away for ten minutes as punishment for behaving badly.[20] This idea of being harshly treated or wrongfully accused is frequently reflected in Hitchcock's films.[21]

Hitchcock's father died when he was 14. In the same year, Hitchcock left St. Ignatius to study at the London County Council School of Engineering and Navigation in Poplar, London.[22] After leaving, he became a draftsman and advertising designer with a cable company called Henley's.[23]

It was while working at Henley's that he first started to dabble creatively. Upon the formation of the company's in-house publication The Henley Telegraph in 1919, Hitchcock started to submit short articles, eventually becoming one of its most prolific contributors. His first piece was Gas (1919), published in the very first issue, in which a young woman imagines that she is being assaulted one night in Paris – only for the twist to reveal that it was all just a hallucination in the dentist's chair, induced by the anaesthetic. His second piece was The Woman's Part (1919), which involves the conflicted emotions a husband feels as he watches his wife, an actress, perform onstage.[24] Sordid (1920) surrounds an attempt to buy a sword from an antiques dealer, with another twist ending. The short story And There Was No Rainbow (1920) was Hitchcock's first brush with possibly censurable material. A young man goes out looking for a brothel, only to stumble into the house of his best friend's girl. What's Who? (1920), while being very funny, was also a precursor to the famous Abbott and Costello "Who's on First?" routine. The History of Pea Eating (1920) was a satirical disquisition on the various attempts mankind has made over the centuries to eat peas successfully. His final piece, Fedora (1921), was his shortest and most enigmatic contribution. It also gave a strikingly accurate description of his future wife, Alma (whom he had not yet met).[25]

During this period, Hitchcock became intrigued by photography and started working in film production in London, working as a title-card designer for the London branch of what would become Paramount Pictures.[26] In 1920, he received a full-time position at Islington Studios with its American owner, Famous Players-Lasky, and their British successor, Gainsborough Pictures,[27] designing the titles for silent movies.[28] His rise from title designer to film director took five years.

Inter-war British career[link]

Hitchcock's last collaboration with Graham Cutts led him to Germany in 1924. The film Die Prinzessin und der Geiger (UK title The Blackguard, 1925), directed by Cutts and co-written by Hitchcock, was produced in the Babelsberg Studios in Potsdam near Berlin. Hitchcock also observed part of the making of F. W. Murnau's film Der letzte Mann (1924).[29] He was very impressed with Murnau's work and later used many techniques for the set design in his own productions. In his book-length interview with François Truffaut, Hitchcock/Truffaut (Simon and Schuster, 1967), Hitchcock also said he was influenced by Fritz Lang's film Destiny (1921).

Hitchcock's first few films faced a string of bad luck. His first directing project came in 1922 with the aptly titled Number 13.[30] The production was cancelled due to financial problems[30] and the few scenes that were finished at that point were apparently lost. In 1925, Michael Balcon[31] of Gainsborough Pictures gave Hitchcock another opportunity for a directing credit with The Pleasure Garden made at UFA Studios[32] in Germany; the film was a commercial flop.[33] Next, Hitchcock directed a drama called The Mountain Eagle (possibly released under the title Fear o' God in the United States). This film was also eventually lost.[34] In 1926, Hitchcock's luck changed with his first thriller, The Lodger: A Story of the London Fog. The film, released in January 1927, was a major commercial and critical success in the United Kingdom.[35] As with many of his earlier works, this film was influenced by Expressionist techniques Hitchcock had witnessed first-hand in Germany.[36] Some commentators regard this piece as the first truly "Hitchcockian"[37][38] film, incorporating such themes as the "wrong man".[39]

Following the success of The Lodger, Hitchcock hired a publicist to help enhance his growing reputation. On 2 December 1926, Hitchcock married his assistant director, Alma Reville, at the Brompton Oratory in South Kensington. Their only child, daughter Patricia, was born on 7 July 1928. Alma was to become Hitchcock's closest collaborator, but her contributions to his films (some of which were credited on screen) Hitchcock would discuss only in private, as she was keen to avoid public attention.[40]

In 1929, Hitchcock began work on his tenth film Blackmail. While the film was still in production, the studio, British International Pictures (BIP), decided to convert it to sound. As an early 'talkie', the film is frequently cited by film historians as a landmark film,[41] and is often considered to be the first British sound feature film.[42][43] With the climax of the film taking place on the dome of the British Museum, Blackmail began the Hitchcock tradition of using famous landmarks as a backdrop for suspense sequences. It also features one of his longest cameo appearances, which shows him being bothered by a small boy as he reads a book on the London Underground.[44] In the PBS series The Men Who Made The Movies,[45] Hitchcock explained how he used early sound recording as a special element of the film, emphasising the word "knife" in a conversation with the woman suspected of murder.[46] During this period, Hitchcock directed segments for a BIP musical film revue Elstree Calling (1930) and directed a short film featuring two Film Weekly scholarship winners, An Elastic Affair (1930). Another BIP musical revue, Harmony Heaven (1929), reportedly had minor input from Hitchcock, but his name does not appear in the credits.

In 1933, Hitchcock was once again working for Michael Balcon[31] at Gaumont-British Picture Corporation.[47] His first film for the company, The Man Who Knew Too Much (1934), was a success and his second, The 39 Steps (1935), is often considered one of the best films from his early period.[48] This film was also one of the first to introduce the concept of the "MacGuffin", a plot device around which a whole story seems to revolve, but ultimately has nothing to do with the true meaning or ending of the story. In The 39 Steps, the MacGuffin is a stolen set of design plans. Hitchcock told French director François Truffaut:

There are two men sitting in a train going to Scotland and one man says to the other, "Excuse me, sir, but what is that strange parcel you have on the luggage rack above you?", "Oh", says the other, "that's a Macguffin.", "Well", says the first man, "what's a Macguffin?", The other answers, "It's an apparatus for trapping lions in the Scottish Highlands.", "But", says the first man, "there are no lions in the Scottish Highlands.", "Well", says the other, "then that's no Macguffin."[49]

Hitchcock's next major success was his 1938 film The Lady Vanishes, a fast-paced film about the search for a kindly old Englishwoman Miss Froy (Dame May Whitty), who disappears while on board a train in the fictional country of Bandrika.[50]

By 1938, Hitchcock had become known for his alleged observation, "Actors are cattle". He once said that he first made this remark as early as the late 1920s, in connection to stage actors who were snobbish about motion pictures. However, Michael Redgrave said that Hitchcock had made the statement during the filming of The Lady Vanishes. The phrase would haunt Hitchcock for years to come and would result in an incident during the filming of his 1941 production of Mr. & Mrs. Smith, where Carole Lombard brought some heifers onto the set with name tags of Lombard, Robert Montgomery, and Gene Raymond, the stars of the film, to surprise the director. Hitchcock said he was misquoted: "I said 'Actors should be treated like cattle'."[51]

At the end of the 1930s, David O. Selznick signed Hitchcock to a seven-year contract beginning in March 1939, when the Hitchcocks moved to the United States.

Hollywood[link]

In Hollywood, the suspense and the gallows humour that had become Hitchcock's trademark in film continued to appear in his productions. The working arrangements with Selznick were less than optimal. Selznick suffered from perennial money problems, and Hitchcock was often displeased with Selznick's creative control over his films. In a later interview, Hitchcock summarised the working relationship thus:

[Selznick] was the Big Producer. [...] Producer was king, The most flattering thing Mr. Selznick ever said about me—and it shows you the amount of control—he said I was the "only director" he'd "trust with a film".[52]

Selznick loaned Hitchcock to the larger studios more often than producing Hitchcock's films himself. In addition, Selznick, as well as fellow independent producer Samuel Goldwyn, made only a few films each year, so he did not always have projects for Hitchcock to direct. Goldwyn had also negotiated with Hitchcock on a possible contract, only to be outbid by Selznick. Hitchcock was quickly impressed with the superior resources of the American studios compared to the financial restrictions he had frequently encountered in England.[citation needed]

Hitchcock's fondness for his homeland resulted in numerous American films set in, or filmed in, the United Kingdom,[53] including his penultimate film, Frenzy.

With the prestigious Selznick picture Rebecca in 1940, Hitchcock made his first American movie, set in England and based on a novel by English author Daphne du Maurier. The film starred Laurence Olivier and Joan Fontaine. This Gothic melodrama explores the fears of a naïve young bride who enters a great English country home and must adapt to the extreme formality and coldness she finds there. The film won the Academy Award for Best Picture of 1940.[54] The statuette was given to Selznick, as the film's producer.[54] The film did not win the Best Director award for Hitchcock.

There were additional problems between Selznick and Hitchcock. Selznick was known to impose very restrictive rules upon Hitchcock, forcing him to shoot the film as Selznick wanted.[citation needed] At the same time, Selznick complained about Hitchcock's "goddamn jigsaw cutting", which meant that the producer did not have nearly the leeway to create his own film as he liked, but had to follow Hitchcock's vision of the finished product.[55] Rebecca was the fourth longest of Hitchcock's films, at 130 minutes, exceeded only by The Paradine Case (132 minutes), North by Northwest (136 minutes), and Topaz (142 minutes).[56]

Hitchcock's second American film, the European-set thriller Foreign Correspondent (1940), based on Vincent Sheean's Personal History and produced by Walter Wanger, was nominated for Best Picture that year. Hitchcock and many other English nationals felt uneasy living and working in Hollywood while their home country was at war, so his concern resulted in the making of the film that supported the British war effort.[57] The movie was filmed in the first year of World War II and was inspired by the rapidly changing events in Europe, as fictionally covered by an American newspaper reporter portrayed by Joel McCrea. The film mixed actual footage of European scenes and scenes filmed on a Hollywood back lot. In compliance with Hollywood's Production Code censorship, the film avoided direct references to Germany and Germans.[58]

1940s films[link]

Hitchcock's films during the 1940s were diverse, ranging from the romantic comedy Mr. & Mrs. Smith (1941) to the courtroom drama The Paradine Case (1947) to the dark and disturbing film noir Shadow of a Doubt (1943).

In September 1940, the Hitchcocks purchased the 200-acre (0.81 km2) Cornwall Ranch, located near Scotts Valley in the Santa Cruz Mountains. The ranch became the primary residence of the Hitchcocks for the rest of their lives, although they kept their Bel Air home. Suspicion (1941) marked Hitchcock's first film as a producer as well as director. Hitchcock used the north coast of Santa Cruz, California, for the English coastline sequence.[26] This film was to be actor Cary Grant's first time working with Hitchcock, and it was one of the few times that Grant would be cast in a sinister role.[26] Joan Fontaine[59] won Best Actress Oscar[26] and the New York Film Critics Circle Award[60] for her "outstanding performance in Suspicion". "Grant plays an irresponsible husband whose actions raise suspicion and anxiety in his wife (Fontaine)".[citation needed] In what critics regard as a classic scene[citation needed], Hitchcock uses a light bulb to illuminate what might be a fatal glass of milk that Grant is bringing to his wife. In the book the movie is based on (Before the Fact by Francis Iles), the Grant character is a killer, but Hitchcock and the studio felt Grant's image would be tarnished by that ending. Though a homicide would have suited him better, as he stated to François Truffaut, Hitchcock settled for an ambiguous finale.[61]

Saboteur (1942) was the first of two films that Hitchcock made for Universal, a studio where he would continue his career during his later years. Hitchcock was forced[citation needed] to use Universal contract players Robert Cummings and Priscilla Lane, both known for their work in comedies and light dramas. Breaking with Hollywood conventions of the time, Hitchcock did extensive location filming, especially in New York City, and depicted a confrontation between a suspected saboteur (Cummings) and a real saboteur (Norman Lloyd) atop the Statue of Liberty. That year he also directed Have You Heard?, a photographic dramatisation of the dangers of rumours during wartime, for Life magazine.[62]

Shadow of a Doubt (1943), Hitchcock's personal favourite of all his films and the second of the early Universal films,[63] was about young Charlotte "Charlie" Newton (Teresa Wright), who suspects her beloved uncle Charlie Oakley (Joseph Cotten) of being a serial murderer. Critics have said that in its use of overlapping characters, dialogue, and closeups it has provided a generation of film theorists with psychoanalytic potential[citation needed], including Jacques Lacan and Slavoj Žižek. Hitchcock again filmed extensively on location, this time in the Northern California city of Santa Rosa, California, during the summer of 1942. The director showcased his own personal fascination with crime and criminals when he had two of his characters discuss various ways of killing people, to the obvious annoyance of Charlotte.

Working at 20th Century Fox, Hitchcock adapted a script of John Steinbeck's that chronicled the experiences of the survivors of a German U-boat attack in the film Lifeboat (1944). The action sequences were shot in a small boat in the studio water tank. The locale also posed problems for Hitchcock's traditional cameo appearance. That was solved by having Hitchcock's image appear in a newspaper that William Bendix is reading in the boat, showing the director in a before-and-after advertisement for "Reduco-Obesity Slayer".[64]

While at Fox, Hitchcock seriously considered directing the film version of A.J. Cronin's novel about a Catholic priest in China[citation needed], The Keys of the Kingdom, but the plans for this fell through. John M. Stahl ended up directing the 1944 film, which was produced by Joseph L. Mankiewicz and starred Gregory Peck, among other luminaries.[65]

Returning to England for an extended visit in late 1943 and early 1944, Hitchcock made two short films for the Ministry of Information, Bon Voyage and Aventure Malgache. Made for the Free French, these were the only films Hitchcock made in the French language, and "feature typical Hitchcockian touches".[66] In the 1990s, the two films were shown by Turner Classic Movies and released on home video.

In 1945, Hitchcock served as "treatment advisor" (in effect, a film editor) for a Holocaust documentary produced by the British Army. The film, which recorded the liberation of Nazi concentration camps, remained unreleased until 1985, when it was completed by PBS Frontline and distributed under the title Memory of the Camps.[67][68]

Hitchcock worked for Selznick again when he directed Spellbound (1945), which explored psychoanalysis[69] and featured a dream sequence designed by Salvador Dalí. Gregory Peck plays amnesiac Dr. Anthony Edwardes under the treatment of analyst Dr. Peterson (Ingrid Bergman), who falls in love with him while trying to unlock his repressed past.[70] The dream sequence as it actually appears in the film is considerably shorter than was originally envisioned, which was to be several minutes long,[citation needed] because it proved to be too disturbing for the audience. Two point-of-view shots were achieved by constructing a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun. For added novelty and impact, the climactic gunshot was hand-coloured red on (some copies of) the black-and-white film. Some of the original musical score by Miklós Rózsa (which makes use of the theremin) was later adapted by the composer into a concert piano concerto.

Grant and Bergman in Notorious (1946)

Notorious (1946) followed Spellbound. According to Hitchcock, in his book-length interview with François Truffaut, Selznick sold the director, the two stars (Grant and Bergman) and the screenplay (by Ben Hecht) to RKO Radio Pictures as a "package" for $500,000 due to cost overruns on Selznick's Duel in the Sun (1946). Notorious starred Hitchcock regulars Ingrid Bergman and Cary Grant, and features a plot about Nazis, uranium, and South America. It was a huge box office success and has remained one of Hitchcock's most acclaimed films[citation needed]. His use of uranium as a plot device led to Hitchcock's being briefly under FBI surveillance. McGilligan writes that Hitchcock consulted Dr. Robert Millikan of Caltech about the development of an atomic bomb. Selznick complained that the notion was "science fiction", only to be confronted by the news stories of the detonation of two atomic bombs on Hiroshima and Nagasaki in Japan in August 1945.[71]

After completing his final film for Selznick, The Paradine Case (a courtroom drama that critics found lost momentum because it apparently ran too long and exhausted its resource of ideas), Hitchcock filmed his first colour film, Rope (1948). Here Hitchcock experimented with marshaling suspense in a confined environment, as he had done earlier with Lifeboat (1943). Appeaering to have been shot entirely in a single take, Rope (1948) was actually shot in 10 takes ranging from four and a half to 10 minutes each; a 10-minute length of film being the maximum a camera's film magazine could hold. Some transitions between reels were hidden by having a dark object fill the entire screen for a moment. Hitchcock used those points to hide the cut, and began the next take with the camera in the same place. Featuring James Stewart in the leading role, Rope was the first of four films Stewart would make with Hitchcock. It was based on the Leopold and Loeb case of the 1920s. Somehow Hitchcock's cameraman managed to move the bulky, heavy Technicolor camera quickly around the set as it followed the continuous action of the long takes.

Under Capricorn (1949), set in nineteenth-century Australia, also used the short-lived technique of long takes, but to a more limited extent. He again used Technicolor in this production, then returned to black-and-white films for several years. For Rope and Under Capricorn, Hitchcock formed a production company with Sidney Bernstein called Transatlantic Pictures, which became inactive after these two unsuccessful pictures. Hitchcock continued to produce his own films for the rest of his life.

1950s: Peak years[link]

Hitchcock filmed Stage Fright (1950) in the UK. For the first time, he matched one of Warner Bros.'[72] biggest stars, Jane Wyman, with the sultry German actress Marlene Dietrich. Hitchcock used a number of prominent British actors, including Michael Wilding, Richard Todd, and Alastair Sim. This was Hitchcock's first production for Warner Bros., which had distributed Rope and Under Capricorn, because Transatlantic Pictures was experiencing financial difficulties.[73]

With the film Strangers on a Train (1951), based on the novel by Patricia Highsmith, Hitchcock combined many elements from his preceding films. He approached Dashiell Hammett to write the dialogue but Raymond Chandler took over, then left over disagreements with the director.[74] Two men casually meet, one of whom speculates on a foolproof murder technique. He suggests that two people, each wishing to do away with someone, should each perform the other's murder. Farley Granger's role was as the innocent victim of the scheme, while Robert Walker, previously known for "boy-next-door" roles, played the villain.[75]

MCA head Lew Wasserman, whose client list included James Stewart, Janet Leigh and other actors who would appear in Hitchcock's films, had a significant impact in packaging and marketing Hitchcock's films beginning in the 1950s.

After I Confess (1953) with Montgomery Clift, three popular films starring Grace Kelly followed. Dial M for Murder (1954) was adapted from the stage play by Frederick Knott. Ray Milland plays the scheming villain, an ex-tennis pro who tries to murder his unfaithful wife Grace Kelly for her money. When she kills the hired assassin in self-defense, Milland manipulates the evidence to pin the death on his wife. Her lover, Mark Halliday (Robert Cummings), and Police Inspector Hubbard (John Williams), work urgently to save her from execution.[76] Hitchcock experimented with 3D cinematography. The depth effect was utilised in a major way only in one key scene. The public was growing weary of 3D by the time of the film's release, however, and it was shown in 3D only in a few first-run engagements. The 3D version has been revived from time to time, including a brief reissue in some major US cities in the 1980s. The film marked a return to color productions for Hitchcock.

Hitchcock then moved to Paramount Pictures and filmed Rear Window (1954), starring James Stewart and Kelly again, as well as Thelma Ritter and Raymond Burr. Stewart's character, a photographer based on Robert Capa, must temporarily use a wheelchair; out of boredom he begins observing his neighbours across the courtyard, and becomes convinced one of them (Raymond Burr) has murdered his wife. Stewart tries to sway both his glamorous model-girlfriend (Kelly), which screenwriter John Michael Hayes based on his own wife, and his policeman buddy (Wendell Corey) to his theory, and eventually succeeds.[77] As with Lifeboat and Rope, the principal characters were almost entirely confined to a small space, in this case Stewart's tiny studio apartment overlooking a massive courtyard. Hitchcock used closeups of Stewart's face to show his character's reactions to all he sees, "from the comic voyeurism directed at his neighbours to his helpless terror watching Kelly and Burr in the villain's apartment".[77]

The third Kelly film, To Catch a Thief (1955), set in the French Riviera, paired her with Cary Grant. He plays retired thief John Robie, who becomes the prime suspect for a spate of robberies in the Riviera. An American heiress played by Kelly surmises his true identity, attempts to seduce him. "Despite the obvious age disparity between Grant and Kelly and a lightweight plot, the witty script (loaded with double-entendres) and the good-natured acting proved a commercial success."[78] It was Hitchcock's last film with Kelly. She married Prince Rainier of Monaco in 1956, and the residents of her new land were against her making any more films.

Hitchcock successfully remade his own 1934 film The Man Who Knew Too Much in 1956, this time starring Stewart and Doris Day, who sang the theme song, "Que Sera, Sera (Whatever Will Be, Will Be)", which won the Oscar for Best Original Song and became a big hit for her. They play a couple whose son is kidnapped to prevent them from interfering with an assassination.

The Wrong Man (1957), Hitchcock's final film for Warner Brothers, was a low-key black-and-white production based on a real-life case of mistaken identity reported in Life Magazine in 1953. This was the only film of Hitchcock's to star Henry Fonda. Fonda plays a Stork Club musician mistaken for a liquor store thief who is arrested and tried for robbery while his wife (newcomer Vera Miles) emotionally collapses under the strain. Hitchcock told Truffaut that his lifelong fear of the police attracted him to the subject and was embedded in many scenes.[79]

Vertigo (1958) again starred Stewart, this time with Kim Novak and Barbara Bel Geddes. Stewart plays "Scottie", a former police investigator suffering from acrophobia, who develops an obsession with a woman he is shadowing (Novak). Scottie's obsession leads to tragedy, and this time Hitchcock does not opt for a happy ending. The film contains a camera technique developed by Irmin Roberts that has been copied many times by filmmakers, wherein the image appears to "stretch". This is achieved by moving the camera in the opposite direction of the camera's zoom. It has become known by many nicknames, including Dolly zoom, "Zolly," "Hitchcock Zoom," and "Vertigo Effect."

Although the film is widely considered a classic today, Vertigo met with negative reviews and poor box office receipts upon its release, and was the last collaboration between Stewart and Hitchcock.[80] The film is ranked second (behind Citizen Kane) in the 2002 Sight & Sound decade poll. It was premiered in the San Sebastián International Film Festival,[81] where Hitchcock won a Silver Seashell.

Cary Grant in North by Northwest (1959)

By this time, Hitchcock had filmed in many areas of the United States.[82] He followed Vertigo with three more successful films. Two are also recognised as among his best movies: North by Northwest (1959) and Psycho (1960). The third film was The Birds (1963).

In North by Northwest, Cary Grant portrays Roger Thornhill, a Madison Avenue advertising executive who is mistaken for a government secret agent.[83] He is hotly pursued by enemy agents across America, apparently one of them being Eve Kendall (Eva Marie Saint), in fact working undercover.

From 1960[link]

Psycho is almost certainly Hitchcock's best-known film.[84] Produced on a highly constrained budget of $800,000, it was shot in black-and-white on a spare set.[85] The unprecedented violence of the shower scene, the early demise of the heroine, the innocent lives extinguished by a disturbed murderer were all hallmarks of Hitchcock, copied in many subsequent horror films.[86] After completing Psycho, Hitchcock moved to Universal, where he made the remainder of his films.

The Birds, inspired by a Daphne Du Maurier short story and by an actual news story about a mysterious infestation of birds in California, was Hitchcock's 49th film.[87] He signed up Tippi Hedren as his latest blonde heroine opposite Rod Taylor. The scenes of the birds attacking included hundreds of shots mixing actual and animated sequences. The cause of the birds' attack is left unanswered, "perhaps highlighting the mystery of forces unknown".[88]

The latter two films had unconventional soundtracks, both orchestrated by Bernard Herrmann: the screeching strings played in the murder scene in Psycho were unusually dissonant, and The Birds dispensed completely with conventional instruments, instead using an electronically produced soundtrack and an unaccompanied song by schoolchildren (just prior to the attack at the Bodega Bay School). These films are considered his last great films, after which critical opinion was usually against his new films, although some critics, such as Robin Wood and Donald Spoto, contend that Marnie (1964) is first-class Hitchcock, and some have argued that Frenzy is unfairly overlooked.

Failing health took its toll on Hitchcock, reducing his output during the last two decades of his career. He filmed two spy thrillers set with Cold War-related themes. The first, Torn Curtain (1966), with Paul Newman and Julie Andrews, displays the bitter end of the twelve-year collaboration between Hitchcock and composer Bernard Herrmann. Herrmann was fired when Hitchcock was unsatisfied with his score. Topaz (1969), (based on a Leon Uris novel), is partly set in Cuba. Both received mixed reviews from critics.

Hitchcock at work on location in San Francisco for Family Plot

In 1972, Hitchcock returned to London to film Frenzy. After two only moderately successful espionage films, the plot marks a return to the murder thriller genre of earlier in his career. The basic story recycles his early film The Lodger. Richard Blaney (Jon Finch), a volatile barkeeper with a history of explosive anger, becomes the prime suspect for the "Necktie Murders," which are actually committed by his friend Bob Rusk (Barry Foster).[89] This time, Hitchcock makes the victim and villain twins, rather than opposites, as in Strangers on a Train. Only one of them, however, has crossed the line to murder.[89] For the first time, Hitchcock allowed nudity and profane language, which had before been taboo, in one of his films. He also shows rare sympathy for the chief inspector and his comic domestic life.[90] Biographers have noted that Hitchcock had always pushed the limits of film censorship, often managing to fool Joseph Breen, the longtime head of Hollywood's Production Code. Many times Hitchcock slipped in subtle hints of improprieties forbidden by censorship until the mid-1960s. Yet Patrick McGilligan wrote that Breen and others often realised that Hitchcock was inserting such things and were actually amused as well as alarmed by Hitchcock's "inescapable inferences".[91] Beginning with Torn Curtain, Hitchcock was finally able to blatantly include plot elements previously forbidden in American films and this continued for the remainder of his film career.

Family Plot (1976) was Hitchcock's last film. It related the escapades of "Madam" Blanche Tyler played by Barbara Harris, a fraudulent spiritualist, and her taxi driver lover Bruce Dern making a living from her phoney powers. William Devane, Karen Black and Cathleen Nesbitt co-starred. It was the only Hitchcock film scored by John Williams.

Last project and death[link]

Near the end of his life, Hitchcock had worked on the script for a projected spy thriller, The Short Night, collaborating with screenwriters James Costigan and Ernest Lehman. Despite some preliminary work, the story was never filmed. This was due primarily to Hitchcock's own failing health and his concerns over the health of his wife, Alma, who had suffered a stroke. The script was eventually published posthumously, in a book on Hitchcock's last years.[92][93]

Hitchcock died in his Bel Air home of renal failure at 9:17 am on 29 April 1980. He was survived by his wife and their daughter. Hitchcock's funeral service was held at Good Shepherd Catholic Church[94] in Beverly Hills, after which his body was cremated and his remains were scattered over the Pacific Ocean.[95]

Themes, plot devices and motifs[link]

Hitchcock returned several times to cinematic devices such as suspense, the audience as voyeur, and his well-known "MacGuffin," an apparently minor detail serving as a pivot upon which the narrative turns.

Signature appearances in his films[link]

Hitchcock appeared briefly in most of his own films. For example, he is seen struggling to get a double bass onto a train (Strangers on a Train), or walking dogs out of a pet shop (The Birds).

Psychology of characters[link]

Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant's character) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself of a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.

Hitchcock heroines tend to be lovely, cool blondes who seem proper at first but, when aroused by passion or danger, respond in a more sensual, animal, or even criminal way. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was—years after Dany Robin and her "daughter" Claude Jade in TopazBarbara Harris as a phony psychic turned amateur sleuth in his final film, 1976's Family Plot. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work.

Some critics and Hitchcock scholars, including Donald Spoto and Roger Ebert, agree that Vertigo represents the director's most personal and revealing film, dealing with the obsessions of a man who crafts a woman into the woman he desires. Vertigo explores more frankly and at greater length his interest in the relation between sex and death than any other film in his filmography.[citation needed]

Hitchcock often said that his favourite film (of his own work) was Shadow of a Doubt.[96]

Style of working[link]

Writing[link]

Hitchcock once commented, "The writer and I plan out the entire script down to the smallest detail, and when we're finished all that's left to do is to shoot the film. Actually, it's only when one enters the studio that one enters the area of compromise. Really, the novelist has the best casting since he doesn't have to cope with the actors and all the rest." In an interview with Roger Ebert in 1969, Hitchcock elaborated further:

Once the screenplay is finished, I'd just as soon not make the film at all... I have a strongly visual mind. I visualize a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception.[97]

In Writing with Hitchcock, a book-length study of Hitchcock's working method with his writers, author Steven DeRosa noted that "Although he rarely did any actual 'writing', especially on his Hollywood productions, Hitchcock supervised and guided his writers through every draft, insisting on a strict attention to detail and a preference for telling the story through visual rather than verbal means. While this exasperated some writers, others admitted the director inspired them to do their very best work. Hitchcock often emphasised that he took no screen credit for the writing of his films. However, over time the work of many of his writers has been attributed solely to Hitchcock’s creative genius, a misconception he rarely went out of his way to correct. Notwithstanding his technical brilliance as a director, Hitchcock relied on his writers a great deal."[98]

Storyboards and production[link]

Hitchcock's films were strongly believed to have been extensively storyboarded to the finest detail by the majority of commentators over the years. He was reported to have never even bothered looking through the viewfinder, since he did not need to do so, though in publicity photos he was shown doing so. He also used this as an excuse to never have to change his films from his initial vision. If a studio asked him to change a film, he would claim that it was already shot in a single way, and that there were no alternate takes to consider.

However, this view of Hitchcock as a director who relied more on pre-production than on the actual production itself has been challenged by the book Hitchcock At Work, written by Bill Krohn, the American correspondent of Cahiers du cinéma. Krohn, after investigating several script revisions, notes to other production personnel written by or to Hitchcock alongside inspection of storyboards, and other production material, has observed that Hitchcock's work often deviated from how the screenplay was written or how the film was originally envisioned. He noted that the myth of storyboards in relation to Hitchcock, often regurgitated by generations of commentators on his movies was to a great degree perpetuated by Hitchcock himself or the publicity arm of the studios. A great example would be the celebrated crop-spraying sequence of North by Northwest which was not storyboarded at all. After the scene was filmed, the publicity department asked Hitchcock to make storyboards to promote the film and Hitchcock in turn hired an artist to match the scenes in detail.

Even when storyboards were made, scenes that were shot differed from it significantly. Krohn's extensive analysis of the production of Hitchcock classics like Notorious reveals that Hitchcock was flexible enough to change a film's conception during its production. Another example Krohn notes is the American remake of The Man Who Knew Too Much, whose shooting schedule commenced without a finished script and moreover went over schedule, something that, as Krohn notes, was not an uncommon occurrence on many of Hitchcock's films, including Strangers on a Train and Topaz. While Hitchcock did do a great deal of preparation for all his movies, he was fully cognizant that the actual film-making process often deviated from the best-laid plans and was flexible to adapt to the changes and needs of production as his films were not free from the normal hassles faced and common routines utilised during many other film productions.

Krohn's work also sheds light on Hitchcock's practice of generally shooting in chronological order, which he notes sent many films over budget and over schedule and, more importantly, differed from the standard operating procedure of Hollywood in the Studio System Era. Equally important is Hitchcock's tendency to shoot alternate takes of scenes. This differed from coverage in that the films were not necessarily shot from varying angles so as to give the editor options to shape the film how he/she chooses (often under the producer's aegis). Rather they represented Hitchcock's tendency of giving himself options in the editing room, where he would provide advice to his editors after viewing a rough cut of the work. According to Krohn, this and a great deal of other information revealed through his research of Hitchcock's personal papers, script revisions and the like refute the notion of Hitchcock as a director who was always in control of his films, whose vision of his films did not change during production, which Krohn notes has remained the central long-standing myth of Alfred Hitchcock.

His fastidiousness and attention to detail also found its way into each film poster for his films. Hitchcock preferred to work with the best talent of his day—film poster designers such as Bill Gold and Saul Bass—and kept them busy with countless rounds of revision until he felt that the single image of the poster accurately represented his entire film.

Approach to actors[link]

"The length of a film should be directly related to the endurance of the human bladder."

—Alfred Hitchcock

Similarly, much of Hitchcock's supposed dislike of actors has been exaggerated. Hitchcock simply did not tolerate the method approach, as he believed that actors should only concentrate on their performances and leave work on script and character to the directors and screenwriters. In a Sight and Sound interview, he stated that, 'the method actor is OK in the theatre because he has a free space to move about. But when it comes to cutting the face and what he sees and so forth, there must be some discipline'.[99] During the making of Lifeboat, Walter Slezak, who played the German character, stated that Hitchcock knew the mechanics of acting better than anyone he knew. Several critics have observed that despite his reputation as a man who disliked actors, several actors who worked with him gave fine, often brilliant performances and these performances contribute to the film's success.

For Hitchcock, the actors, like the props, were part of the film's setting, as he said to Truffaut:

In my opinion, the chief requisite for an actor is the ability to do nothing well, which is by no means as easy as it sounds. He should be willing to be utilised and wholly integrated into the picture by the director and the camera. He must allow the camera to determine the proper emphasis and the most effective dramatic highlights.[100]

Regarding Hitchcock's sometimes less than pleasant relationship with actors, there was a persistent rumour that he had said that actors were cattle. Hitchcock addressed this story in his interview with François Truffaut:

I'm not quite sure in what context I might have made such a statement. It may have been made...when we used actors who were simultaneously performing in stage plays. When they had a matinee, and I suspected they were allowing themselves plenty of time for a very leisurely lunch. And this meant that we had to shoot our scenes at breakneck speed so that the actors could get out on time. I couldn't help feeling that if they'd been really conscientious, they'd have swallowed their sandwich in the cab, on the way to the theatre, and get there in time to put on their make-up and go on stage. I had no use for that kind of actor.[101]

Carole Lombard, tweaking Hitchcock and drumming up a little publicity, brought some cows along with her when she reported to the set of Mr. and Mrs. Smith.[101]

In the late 1950s, French New Wave critics, especially Éric Rohmer, Claude Chabrol and François Truffaut, were among the first to see and promote Hitchcock's films as artistic works. Hitchcock was one of the first directors to whom they applied their auteur theory, which stresses the artistic authority of the director in the film-making process.

Hitchcock's innovations and vision have influenced a great number of filmmakers, producers, and actors. His influence helped start a trend for film directors to control artistic aspects of their movies without answering to the movie's producer.

The ugly side of Hitchcock - Sexual harrassment and abuse of leading ladies[link]

“The trouble today is that we don’t torture women enough.” —Alfred Hitchcock

Hitchcock engaged in obsessive sexually abusive behaviour towards many of his female leads. He used his position as director to seek to dominate and control his leading ladies. In the case of Tippi Hedren this extended to sexual harrassment. Hitchcock often used filming conditions to physically abuse actresses.

He insisted, for example, that Madeleine Carroll submit herself to painful physical demands during the making of The 39 Steps.

Awards and honours[link]

Hitchcock was a multiple nominee and winner of a number of prestigious awards, receiving two Golden Globes, eight Laurel Awards and five lifetime achievement awards, as well as being six times nominated for, albeit never winning, an Academy Award as Best Director. His film Rebecca (nominated for 11 Oscars) won the Academy Award for Best Picture of 1940—particularly notable considering the fact that another Hitchcock film, Foreign Correspondent, was also nominated that same year.

Television, radio, and books[link]

Along with Walt Disney, Hitchcock was among the first prominent motion picture producers to fully envisage just how popular the medium of television would become. From 1955 to 1965, Hitchcock was the host and producer of a television series titled Alfred Hitchcock Presents.[102] While his films had made Hitchcock's name strongly associated with suspense, the TV series made Hitchcock a celebrity himself. His irony-tinged voice and signature droll delivery, gallows humour, iconic image and mannerisms became instantly recognisable and were often the subject of parody.

The title-theme of the show pictured a minimalist caricature of Hitchcock's profile (he drew it himself; it is composed of only nine strokes), which his real silhouette then filled. His introductions before the stories in his program always included some sort of wry humour, such as the description of a recent multi-person execution hampered by having only one electric chair, while two are now shown with a sign "Two chairs—no waiting!" He directed a few episodes of the TV series himself, and he upset a number of movie production companies when he insisted on using his TV production crew to produce his motion picture Psycho. In the late 1980s, a new version of Alfred Hitchcock Presents was produced for television, making use of Hitchcock's original introductions in a colourised form.

The series used a curious little tune[103] by the French composer Charles Gounod (1818–1893),[104] the composer of the 1859 opera Faust, as the theme for his television programs, after it was suggested to him by composer Bernard Herrmann. Arthur Fiedler and the Boston Pops Orchestra included the piece, Funeral March of a Marionette, on one of their extended play 45-rpm discs for RCA Victor during the 1950s.

Alfred Hitchcock Presents was parodied by Friz Freleng's 1961 cartoon The Last Hungry Cat, which contains a plot similar to Blackmail.

Hitchcock appears as a character in the popular juvenile detective book series, Alfred Hitchcock and the Three Investigators. The long-running detective series was created by Robert Arthur, who wrote the first several books, although other authors took over after he left the series. The Three Investigators—Jupiter Jones, Bob Andrews and Peter Crenshaw—were amateur detectives, slightly younger than the Hardy Boys. In the introduction to each book, "Alfred Hitchcock" introduces the mystery, and he sometimes refers a case to the boys to solve. At the end of each book, the boys report to Hitchcock, and sometimes give him a memento of their case.

When the real Hitchcock died, the fictional Hitchcock in the Three Investigators books was replaced by a retired detective named Hector Sebastian. At this time, the series title was changed from Alfred Hitchcock and the Three Investigators to The Three Investigators.

At the height of Hitchcock's success, he was also asked to introduce a set of books with his name attached. The series was a collection of short stories by popular short-story writers, primarily focused on suspense and thrillers. These titles included Alfred Hitchcock's Anthology, Alfred Hitchcock Presents: Stories to be Read with the Door Locked, Alfred Hitchcock's Monster Museum, Alfred Hitchcock's Supernatural Tales of Terror and Suspense, Alfred Hitchcock's Spellbinders in Suspense, Alfred Hitchcock's Witch's Brew, Alfred Hitchcock's Ghostly Gallery, Alfred Hitchcock's A Hangman's Dozen and Alfred Hitchcock's Haunted Houseful. Hitchcock himself was not actually involved in the reading, reviewing, editing or selection of the short stories; in fact, even his introductions were ghost-written. The entire extent of his involvement with the project was to lend his name and collect a check.

Some notable writers whose works were used in the collection include Shirley Jackson (Strangers in Town, The Lottery), T.H. White (The Once and Future King), Robert Bloch, H. G. Wells (The War of the Worlds), Robert Louis Stevenson, Sir Arthur Conan Doyle, Mark Twain and the creator of The Three Investigators, Robert Arthur.

Hitchcock also wrote a mystery story for Look magazine in 1943, "The Murder of Monty Woolley". This was a sequence of captioned photographs inviting the reader to inspect the pictures for clues to the murderer's identity; Hitchcock cast the performers as themselves, such as Woolley, Doris Merrick and make-up man Guy Pearce, whom Hitchcock identified, in the last photo, as the murderer. The article was reprinted in Games Magazine in November/December 1980.

In September 2010, BBC Radio 7 broadcast a series of five fifteen-minute programs entitled The Late Alfred Hitchcock Presents with Michael Roberts impersonating Alfred Hitchcock for introductory/concluding comments and reading the stories in his own voice. These five stories were originally intended for the television series, but were rejected because of their rather gruesome nature:

  • "The Waxwork" by A. M. Burrage (broadcast 13 September 2010)
  • "Sredni Vashtar" by Saki (broadcast 14 September 2010)
  • "The Perfectionist" by Margaret St. Clair (broadcast 15 September 2010)
  • "Being a Murderer Myself" by Arthur Williams (broadcast 16 September 2010)
  • "The Dancing Partner" by Jerome K. Jerome (broadcast 17 September 2010)

Filmography[link]

Frequently cast actors and actresses[link]

  • 7 films: Clare Greet: Number 13 (1922), The Ring (1927), The Manxman (1929), Murder! (1930), The Man Who Knew Too Much (1934), Sabotage (1936), Jamaica Inn (1939)
  • 6 films: Leo G. Carroll: Rebecca (1940), Suspicion (1941), Spellbound (1945), The Paradine Case (1947), Strangers on a Train (1951), and North By Northwest (1959)
  • 4 films: Cary Grant: Suspicion (1941), Notorious (1946), To Catch a Thief (1955), and North By Northwest (1959)
  • 4 films: James Stewart: Rope (1948), Rear Window (1954), The Man Who Knew Too Much (1956), and Vertigo (1958)
  • 4 films: Edmund Gwenn: The Skin Game (1931), Waltzes from Vienna (1934), Foreign Correspondent (1940), and The Trouble with Harry (1955)
  • 4 films: Phyllis Konstam: Champagne (1928), Blackmail (1929), Murder! (1930), and The Skin Game (1931)
  • 3 films: Ingrid Bergman: Spellbound (1945), Notorious (1946), and Under Capricorn (1949)
  • 3 films: Grace Kelly: Dial M for Murder (1954), Rear Window (1954), and To Catch a Thief (1955)
  • 3 films: Basil Radford: Young and Innocent (1937), The Lady Vanishes (1938), Jamaica Inn (1939)
  • 3 films: John Williams: The Paradine Case (1947), Dial M for Murder, (1954), and To Catch a Thief (1955)
  • 3 films: Patricia Hitchcock: Stage Fright (1950), Strangers on a Train (1951), Psycho (1960)
  • 3 films: Charles Halton: Foreign Correspondent (1940), Mr. & Mrs. Smith (1941), Saboteur (1942)
  • 2 films: Gregory Peck: Spellbound (1945), The Paradine Case (1947)
  • 2 films: Robert Cummings: Saboteur (1942), Dial M for Murder (1954)
  • 2 films: Tippi Hedren: The Birds (1963), Marnie (1964)
  • 2 films: Joan Fontaine: Rebecca (1940), Suspicion (1941)
  • 2 films: Joseph Cotten: Shadow of a Doubt (1943), Under Capricorn (1949)

Frequent collaborators[link]

Actors and actresses
Screenwriters
Film crew

See also[link]

References[link]

  1. ^ Irving Singer, Three Philosophical Filmmakers: Hitchcock, Welles, Renoir, MIT Press, 2004, p. 9.
  2. ^ Patrick McGilligan, "Alfred Hitchcock: A Life in Darkness and Light", Regan Books, 2003
  3. ^ Hamilton, Fiona. The Times (London). http://www.timesonline.co.uk/tol/comment/faith/article4686649.ece. 
  4. ^ Mogg, Ken. "Alfred Hitchcock". Senses of Cinema. Sensesofcinema.com. http://archive.sensesofcinema.com/contents/directors/05/hitchcock.html. Retrieved 18 July 2010. 
  5. ^ "Obituary". Variety (Variety). 7 May 1980. 
  6. ^ Lehman, David (April/May 2007). "Alfred Hitchcock's America". American Heritage. http://www.americanheritage.com/articles/magazine/ah/2007/2/2007_2_28.shtml. Retrieved 21 July 2010. 
  7. ^ a b Bays, Jeff (December 2007). "Film Techniques of Alfred Hitchcock". Borgus.com. Borgus Productions. http://www.borgus.com/think/hitch.htm. Retrieved 13 July 2010. 
  8. ^ Whitington, Paul (18 July 2009). "NOTORIOUS! (Hitchcock and his icy blondes)". The Irish Independent. http://www.independent.ie/entertainment/books/notorious-hitchcock-and-his-icy-blondes-1435652.html. Retrieved 13 July 2010. 
  9. ^ Spoto, donald (2008). Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies. 
  10. ^ Avedon, Richard (14 April 2007). "The top 21 British directors of all time". The Daily Telegraph (UK). http://www.telegraph.co.uk/culture/film/starsandstories/3664474/The-top-21-British-directors-of-all-time.html. Retrieved 8 July 2009. "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from the audience) and engaging the emotions of the audience like no one else." 
  11. ^ "British Directors". RSS Film studies. http://www.rssfilmstudies.co.uk/british-directors. Retrieved 11 June 2008. 
  12. ^ Wood, Jennifer (6 July 2002). "The 25 Most Influential Directors of All Time". MovieMaker. Moviemaker.com. http://www.moviemaker.com/directing/article/the_25_most_influential_directors_of_all_time_3358/. Retrieved 26 April 2011. 
  13. ^ "The Directors' Top Ten Directors". British Film Institute. http://www.bfi.org.uk/sightandsound/topten/poll/directors-directors.html. Retrieved 10 May 2011. 
  14. ^ Alfred Hitchcock profile at FilmReference.com
  15. ^ "Death and the Master". Vanity Fair. April, 1999. http://www.vanityfair.com/hollywood/classic/features/death-and-the-master-199904. Retrieved 30 December 2010. 
  16. ^ "Welcome to St. Ignatius College". http://www.st-ignatius.enfield.sch.uk. Retrieved 5 March 2008. 
  17. ^ Patrick McGilligan, p. 7
  18. ^ Spoto, Donald (1999). The Dark Side of Genius: The Life of Alfred Hitchcock. Da Capo Press. p. 15. ISBN 978-0-306-80932-3. 
  19. ^ Patrick McGilligan, pp. 18–19
  20. ^ "Hollywood in the Hills". Sentinel Staff Report. 24 July 2005. http://67.15.208.115/printstory.php?sid=28247&storySection=Style. Retrieved 5 March 2008. 
  21. ^ Patrick McGilligan, pp. 7–8
  22. ^ Patrick McGillang, p. 25. The school is now part of Tower Hamlets College.
  23. ^ Patrick McGilligan, pp. 24–25
  24. ^ McGilligan, Patrick (2004). Alfred Hitchcock: A Life in Darkness and Light p.34. HarperCollins, 2004
  25. ^ Patrick McGilligan, pp. 30–45
  26. ^ a b c d "Local Inspiration for Movie Classics: Hitchcock had Link to Santa Cruz". Santa Cruz Public Libraries, Ca.. Archived from the original on 5 September 2007. http://web.archive.org/web/20070905101712/http://www.santacruzpl.org/history/films/hitch.shtml. Retrieved 4 March 2008. 
  27. ^ "Gainsborough Pictures (1924–51)". British Film Institute ScreenOnline. http://www.screenonline.org.uk/people/id/448996. Retrieved 6 March 2008. 
  28. ^ Patrick McGilligan, pp. 46–51
  29. ^ Sidney Gottleib (ed), Alfred Hitchcock: Interviews By Alfred Hitchcock. Illustrated Edition. (Univ. Press of Mississippi, 2003). pp. 157–158.
  30. ^ a b Donald Spoto. The Art of Alfred Hitchcock. New York: Anchor Books, 1976–1992. p. 3 ISBN 978-0-385-41813-3
  31. ^ a b "Balcon, Michael (1896–1977) Executive Producer". British Film Institute ScreenOnline. http://www.screenonline.org.uk/people/id/447085/index.html. Retrieved 6 March 2008. 
  32. ^ "Studio Babelsberg makes Comeback". The Hollywood Reporter. 8 February 2008. Archived from the original on 19 May 2008. http://web.archive.org/web/20080519203756/http://www.hollywoodreporter.com/hr/content_display/awards_festivals/berlin/features/e3i1e0e186c138b9329812cc14639122aac. Retrieved 6 March 2008. 
  33. ^ Patrick McGilligan, pp. 68–71
  34. ^ Donald Spoto. The Art of Alfred Hitchcock. New York: Anchor Books, 1976–1992. p. 5 ISBN 978-0-385-41813-3
  35. ^ See Robert E. Kapsis, Hitchcock: The Making of a Reputation. Illustrated Edition. (University of Chicago Press, 1992). p. 19
  36. ^ Alan Jones (2005) The rough guide to horror movies p. 20. Rough Guides, 2005
  37. ^ "Hitchcockian Stuff". Alfredsplace.com. http://www.alfredsplace.com/hitchcockian_stuff.htm. Retrieved 6 March 2008. 
  38. ^ Gleiberman, Owen (7 Jan 2006). "Ask the Critic – The Hitch Is Back-What, exactly, makes a film Hitchcockian.". Entertainment Weekly (EW.COM). http://www.ew.com/ew/article/0,,1146038,00.html. Retrieved 26 April 2011. 
  39. ^ Patrick McGilligan, p. 85
  40. ^ Chandler, Charlotte (2006). It's only a movie: Alfred Hitchcock : a personal biography. Hal Leonard Corporation. http://books.google.co.uk/books?id=glp97Y_eVSIC&pg=PA44&dq=alma+hitchcock#v=onepage&q=alma%20hitchcock&f=false. 
  41. ^ Rob White, Edward Buscombe British Film Institute film classics, Volume 1 p. 94. Taylor & Francis, 2003
  42. ^ Richard Allen, S. Ishii-Gonzalès Hitchcock: past and future Routledge, 2004
  43. ^ Music hall mimesis in British film, 1895–1960: on the halls on the screen p.79. Associated University Presse, 2009
  44. ^ Walker, Michael (2005) Hitchcock's motifs Amsterdam University Press
  45. ^ "American Masters-Alfred Hitchcock". Public Broadcasting System. http://www.pbs.org/wnet/americanmasters/database/hitchcock_a.html. Retrieved 5 March 2008. 
  46. ^ Patrick McGilligan, pp. 120–123
  47. ^ "Gaumont-British Picture Corporation". British Film Institute. http://ftvdb.bfi.org.uk/sift/organisation/8529. Retrieved 6 March 2008. 
  48. ^ "The British Film Institute 100". http://www.bfi.org.uk/features/bfi100/1-10.html#4. Retrieved 26 April 2011. 
  49. ^ Patrick McGilligan, p. 158
  50. ^ "Lions of British Cinema-Sir Alfred Joseph Hitchcock, (13 August 1899 – 29 April 1980)". AvantGardeNow.com. Archived from the original on 9 October 2007. http://web.archive.org/web/20071009021633/http://www.avantgardenow.com/hitchcock.html. Retrieved 6 March 2008. 
  51. ^ Patrick McGilligan, pp. 210–211, 277; American Movie Classics
  52. ^ Sidney Gottlieb, Alfred Hitchcock: Interviews By Alfred Hitchcock. Illustrated Edition. (Univ. Press of Mississippi, 2003). p. 206.
  53. ^ George Perry "Hitchcock on Location," American Heritage, April/May 2007.
  54. ^ a b "Awards for Rebecca (1940)". Internet Movie Database. http://www.imdb.com/title/tt0032976/awards. Retrieved 7 March 2008. 
  55. ^ Patrick McGilligan, pp. 251–252
  56. ^ Patrick McGilligan, p. 253
  57. ^ Duncan, Paul (2003). Alfred Hitchcock: architect of anxiety, 1899-1980. p.90. Taschen, 1 Nov 2003
  58. ^ Patrick McGilligan, p. 244
  59. ^ "Joan Fontaine". Hollywood.com. http://www.hollywood.com/celebrity/Joan_Fontaine/197679. Retrieved 5 March 2008. 
  60. ^ "New York Film Critics Circle Winners In the 40s". Geocities. Archived from the original on 25 October 2009. http://www.webcitation.org/5kmWxZj10. Retrieved 5 March 2008. 
  61. ^ Thomas Leitch, The Encyclopedia of Alfred Hitchcock, Facts on File, New York, pp. 324–325, ISBN 978-0-8160-4386-6
  62. ^ ""Have You Heard?": The Story of Wartime Rumors". Life: pp. 68–73. 13 July 1942. http://books.google.com/books?id=3E0EAAAAMBAJ&lpg=PA21&pg=PA68#v=onepage&q&f=true. Retrieved 17 November 2011. 
  63. ^ In an interview on the Dick Cavett show aired on 8 June 1972, when asked if he had a personal favourite, Hitchcock responded that it was Shadow of a Doubt.
  64. ^ Leitch, p. 181
  65. ^ Patrick McGilligan, p. 343
  66. ^ Patrick McGilligan, pp. 346–348
  67. ^ Patrick McGilligan, pp. 372–374
  68. ^ "Memory of the Camps". FRONTLINE. Public Broadcasting System (PBS). http://www.pbs.org/wgbh/pages/frontline/camp. Retrieved 7 March 2008. 
  69. ^ Boyd, David (2000). "The Parted Eye: Spellbound and Psychoanalysis". http://archive.sensesofcinema.com/contents/00/6/spellbound.html. 
  70. ^ Leitch, p. 310
  71. ^ Patrick McGilligan, pp. 366–381
  72. ^ "Warner Brothers Studios". http://www2.warnerbros.com/main/homepage/homepage.html. Retrieved 6 March 2008. 
  73. ^ Patrick McGilligan, pp. 429, 774–775
  74. ^ Leitch, p. 320
  75. ^ Leitch, p.322
  76. ^ Leitch, pp. 78–80
  77. ^ a b Leitch, p. 269
  78. ^ Leitch, p. 366
  79. ^ Leitch, p. 377
  80. ^ Leitch, pp. 376–377
  81. ^ "Donostia Zinemaldia Festival de San Sebastian International Film Festival". http://www.sansebastianfestival.com/2007/es3/portada.php. Retrieved 6 March 2008. 
  82. ^ "Hitchcock's America Lifelong Learning Institute-Fall 2001". Sonoma State University. http://yorty.sonoma.edu/filmfrog/archive/hitchmap.html. Retrieved 5 March 2008. 
  83. ^ Leitch, p. 234
  84. ^ Leitch, p. 260
  85. ^ Leitch, p. 261
  86. ^ Leitch, p. 262
  87. ^ Leitch, p. 32
  88. ^ Leitch, p. 33
  89. ^ a b Leitch, p. 114
  90. ^ Leitch, p. 115
  91. ^ Patrick McGilligan, p. 249
  92. ^ Patrick McGilligan, pp. 731–734
  93. ^ Freeman, David (1999). The Last Days of Alfred Hitchcock. Overlook. ISBN 978-0-87951-728-1. 
  94. ^ "Good Shepherd Catholic Church Beverly Hills, CA 90210". Archived from the original on 21 March 2008. http://web.archive.org/web/20080321050225/http%3A//shepherd.catholicweb.com. Retrieved 4 March 2008. 
  95. ^ Flint, Peter B. (30 April 1980). "Alfred Hitchcock Dies; A Master of Suspense; Alfred Hitchcock, Master of Suspense and Celebrated Film Director, Dies at 80 Increasingly Pessimistic Sought Exotic Settings Technical Challenges Became a Draftsman Lured to Hollywood". The New York Times. http://select.nytimes.com/gst/abstract.html?res=FB0B16FF395410728DDDA90B94DC405B8084F1D3&scp=1&sq=Alfred+Hitchcock+Dies&st=p. Retrieved 7 March 2008. 
  96. ^ [Dick Cavett Show interview, 8 June 1972]
  97. ^ "Hitchcock: "Never mess about with a dead body – you may be one..."". Rogerebert.suntimes.com. 14 December 1969. http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19691214/PEOPLE/912140301/1023. Retrieved 26 July 2009. 
  98. ^ Steven DeRosa, Writing with Hitchcock, New York: Faber and Faber, 2001, p. xi.
  99. ^ "Alfred Hitchcock". BFI (Because Films Inspire). http://www.bfi.org.uk/features/interviews/hitchcock.html#actors. Retrieved 4 March 2008. 
  100. ^ Truffaut, François. "Hitchcock by Truffaut: The Definitive Study". Grafton Books, 1984. p. 153
  101. ^ a b Truffaut, François. "Hitchcock". Simon & Schuster, 1984. p. 140
  102. ^ "Alfred Hitchcock Presents". TV.COM. http://www.tv.com/alfred-hitchcock-presents/show/238/summary.html. Retrieved 5 March 2008. 
  103. ^ "Alfred Hitchcock (suspense anthology)". Media Management Group. http://www.classicthemes.com/50sTVThemes/themePages/alfredHitchcock.html. Retrieved 4 March 2008. 
  104. ^ "Filmography by year for Charles Gounod". Internet Movie Database. http://www.imdb.com/name/nm0006111/filmoyear. Retrieved 4 March 2008. 

Bibliography[link]

  • Leitch, Thomas: The Encyclopedia of Alfred Hitchcock (ISBN 978-0-8160-4387-3). Checkmark Books, 2002. A single-volume encyclopaedia of all things about Alfred Hitchcock.
  • McGilligan, Patrick: Alfred Hitchcock: A Life in Darkness and Light. Regan Books, 2003. A comprehensive biography of the director.

Further reading[link]

  • Auiler, Dan: Hitchcock's notebooks: an authorised and illustrated look inside the creative mind of Alfred Hitchcock. New York, Avon Books, 1999. Much useful background to the films.
  • Barr, Charles: English Hitchcock. Cameron & Hollis, 1999. On the early films of the director.
  • Conrad, Peter: The Hitchcock Murders. Faber and Faber, 2000. A highly personal and idiosyncratic discussion of Hitchcock's oeuvre.
  • DeRosa, Steven: Writing with Hitchcock. Faber and Faber, 2001. An examination of the collaboration between Hitchcock and screenwriter John Michael Hayes, his most frequent writing collaborator in Hollywood. Their films include Rear Window and The Man Who Knew Too Much.
  • Deutelbaum, Marshall; Poague, Leland (ed.): A Hitchcock Reader. Iowa State University Press, 1986. A wide-ranging collection of scholarly essays on Hitchcock.
  • Durgnat, Raymond: The strange case of Alfred Hitchcock Cambridge, Massachusetts: MIT Press, 1974 OCLC 1233570
  • Durgnat, Raymond; James, Nick; Gross, Larry: Hitchcock British Film Institute, 1999 OCLC 42209162
  • Durgnat, Raymond: A long hard look at Psycho London: British Film Institute Pub., 2002 OCLC 48883020
  • Giblin, Gary: Alfred Hitchcock's London. Midnight Marquee Press, 2006, (Paperback: ISBN 978-1-887664-67-7)
  • Gottlieb, Sidney: Hitchcock on Hitchcock. Faber and Faber, 1995. Articles, lectures, etc. by Hitchcock himself. Basic reading on the director and his films.
  • Gottlieb, Sidney: Alfred Hitchcock: Interviews. University Press of Mississippi, 2003. A collection of Hitchcock interviews.
  • Grams, Martin, Jr. & Wikstrom, Patrik: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)
  • Haeffner, Nicholas: Alfred Hitchcock. Longman, 2005. An undergraduate-level text.
  • Hitchcock, Patricia; Bouzereau, Laurent: Alma Hitchcock: The Woman Behind the Man. Berkley, 2003.
  • Krohn, Bill: Hitchcock at Work. Phaidon, 2000. Translated from the award-winning French edition. The nitty-gritty of Hitchcock's filmmaking from scripting to post-production.
  • Leff, Leonard J.: Hitchcock and Selznick. Weidenfeld & Nicolson, 1987. An in-depth examination of the rich collaboration between Hitchcock and David O Selznick.
  • McDevitt, Jim; San Juan, Eric: A Year of Hitchcock: 52 Weeks with the Master of Suspense. Scarecrow Press, 2009, (ISBN 978-0-8108-6388-0). A comprehensive film-by-film examination of Hitchcock's artistic development from 1927 through 1976.
  • Modleski, Tania: The Women Who Knew Too Much: Hitchcock And Feminist Theory. Routledge, 2005 (2nd edition). A collection of critical essays on Hitchcock and his films; argues that Hitchcock's portrayal of women was ambivalent, rather than simply misogynist or sympathetic (as widely thought).
  • Mogg, Ken. The Alfred Hitchcock Story. Titan, 2008 (revised edition). Note: the original 1999 UK edition, from Titan, and the 2008 re-issue world-wide, also from Titan, have significantly more text than the 1999 abridged US edition from Taylor Publishing. New material on all the films.
  • Moral, Tony Lee: Hitchcock and the Making of Marnie. Scarecrow Press, 2005 (2nd edition). Well researched making of Hitchcock's "Marnie".
  • Paglia, Camille. The Birds. British Film Institute, January 2008 ISBN 978-0-85170-651-1
  • Rebello, Stephen: Alfred Hitchcock and the Making of Psycho. St. Martin's, 1990. Intimately researched and detailed history of the making of Psycho,.
  • Rohmer, Eric; Chabrol, Claude. Hitchcock, the first forty-four films (ISBN 978-0-8044-2743-2). F. Ungar, 1979. First book-long study of Hitchock art and probably still the best one.
  • Rothman, William. The Murderous Gaze. Harvard Press, 1980. Auteur study that looks at several Hitchcock films intimately.
  • Spoto, Donald: The Art of Alfred Hitchcock. Anchor Books, 1992. The first detailed critical survey of Hitchcock's work by an American.
  • Spoto, Donald: The Dark Side of Genius. Ballantine Books, 1983. A biography of Hitchcock, featuring a controversial exploration of Hitchcock's psychology.
  • Taylor, Alan: Jacobean Visions: Webster, Hitchcock and the Google Culture, Peter Lang, 2007.
  • Truffaut, François: Hitchcock. Simon and Schuster, 1985. A series of interviews of Hitchcock by the influential French director.
  • Vest, James: Hitchcock and France: The Forging of an Auteur. Praeger Publishers, 2003. A study of Hitchcock's interest in French culture and the manner by which French critics, such as Truffaut, came to regard him in such high esteem.
  • Weibel, Adrian: Spannung bei Hitchcock. Zur Funktionsweise der auktorialen Suspense. (ISBN 978-3-8260-3681-1) Würzburg: Königshausen & Neumann, 2008
  • Wikstrom, Patrik & Grams, Martin, Jr.: The Alfred Hitchcock Presents Companion. OTR Pub, 2001, (Paperback: ISBN 978-0-9703310-1-4)
  • Wood, Robin: Hitchcock's Films Revisited. Columbia University Press, 2002 (2nd edition). A much-cited collection of critical essays, now supplemented and annotated in this second edition with additional insights and changes that time and personal experience have brought to the author (including his own coming-out as a gay man).
  • Youngkin, Stephen D. (2005). The Lost One: A Life of Peter Lorre. University Press of Kentucky. ISBN 978-0-8131-2360-8.  Contains interviews with Alfred Hitchcock and a discussion of the making of The Man Who Knew Too Much (1934) and Secret Agent (1936), which co-starred classic film actor Peter Lorre.

External links[link]

http://wn.com/Alfred_Hitchcock

Related pages:

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http://es.wn.com/Alfred Hitchcock

http://ru.wn.com/Хичкок, Альфред

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http://hi.wn.com/एल्फ़्रेड हिचकॉक

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Fats Waller
Background information
Birth name Thomas Wright Waller
Born (1904-05-21)May 21, 1904
Origin New York, New York, U.S.A.
Died December 15, 1943(1943-12-15) (aged 39)
Genres Dixieland, jazz, swing, stride, ragtime
Occupations Pianist, singer, organist
Instruments Piano, vocals, organ
Years active 1918–1943

Fats Waller (May 21, 1904 – December 15, 1943), born Thomas Wright Waller, was a jazz pianist, organist, composer, singer, and comedic entertainer.

Contents

Early life[link]

Thomas Wright Waller was the youngest of four children born to Adaline Locket Waller and the Reverend Edward Martin Waller. He started playing the piano when he was six and graduated to the organ of his father's church four years later. At the age of fourteen he was playing the organ at Harlem's Lincoln Theater and within twelve months he had composed his first rag. Waller's first piano solos ("Muscle Shoals Blues" and "Birmingham Blues") were recorded in October 1922 when he was 18 years old.

He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson. Fats Waller was the son of a preacher and learned to play the organ in church with his mother. Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson's "Carolina Shout", a song he learned from watching a player piano play it.

Career[link]

Waller was one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as "Honeysuckle Rose", "Ain't Misbehavin'" and "Squeeze Me". Fellow pianist and composer Oscar Levant dubbed Waller "the black Horowitz".[1] Waller composed many novelty swing tunes in the 1920s and 1930s and sold them for relatively small sums. When the compositions became hits, other songwriters claimed them as their own. Many standards are alternatively and sometimes controversially attributed to Waller.

The anonymous sleeve notes on the 1960 RCA (UK) album Handful of Keys state that Waller copyrighted over 400 new songs, many of which co-written with his closest collaborator Andy Razaf. Razaf described his partner as "the soul of melody... a man who made the piano sing... both big in body and in mind... known for his generosity... a bubbling bundle of joy".[citation needed] Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller's recording technique with considerable admiration. "Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed. After a balance had been taken, we'd just need one take to make a side, unless it was a kind of difficult number."

Waller played with many performers, from Nat Shilkret (on Victor 21298-A) and Gene Austin to Erskine Tate to Adelaide Hall, but his greatest success came with his own five- or six-piece combo, "Fats Waller and his Rhythm".

His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone. Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the "surprise guest" at Capone's birthday party, and took comfort that the gangsters didn't intend to kill him. According to rumor, Waller played for three days. When he left the Hawthorne Inn, he was very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.[2]

In 1926, Waller began his recording association with Victor Records, his principal record company for the rest of his life, with the organ solos "St. Louis Blues" and his own composition, "Lenox Avenue Blues". Although he recorded with various groups, including Morris's Hot Babes (1927), Fats Waller's Buddies (1929) (one of the earliest interracial groups to record), and McKinney's Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: "Handful of Keys", "Smashing Thirds", "Numb Fumblin'", and "Valentine Stomp" (1929). After sessions with Ted Lewis (1930), Jack Teagarden (1931), and Billy Banks's Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm. This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John "Bugs" Hamilton), Gene Sedric or Rudy Powell, and Al Casey.

Waller wrote "Squeeze Me" (1919), "Keepin' Out of Mischief Now", "Ain't Misbehavin'" (1929), "Blue Turning Grey Over You", "I've Got a Feeling I'm Falling" (1929), "Honeysuckle Rose" (1929), and "Jitterbug Waltz" (1942). He collaborated with the Tin Pan Alley lyricist Andy Razaf. He composed stride piano display pieces such as "Handful of Keys", "Valentine Stomp" and "Viper's Drag".[citation needed]

He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC broadcasts. While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John's Wood. He appeared in several feature films and short subject films, most notably "Stormy Weather" in 1943, which was released July 21, just months before his death. For the hit Broadway show, "Hot Chocolates", he and Razaf wrote "(What Did I Do to Be So) Black and Blue" (1929), which became a hit for Ethel Waters and Louis Armstrong.

Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs (notably, "Ain't Misbehavin'"). In addition to his playing, Waller was known for his many quips during his performances.

Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full sized church organ.

Death[link]

Waller contracted pneumonia and died on a cross country train trip near Kansas City, Missouri on December 15, 1943, after making a final recording session with an interracial group in Detroit that included white trumpeter Don Hirleman. He was on his way back to Hollywood for more film work, after the smash success of "Stormy Weather". Ironically, as the train with the body of Waller stopped in Kansas City, so stopped a train with his dear friend Louis Armstrong on board.

Revival and awards[link]

A Broadway musical revue showcasing Waller tunes entitled Ain't Misbehavin' was produced in 1978. (The show and a star of the show, Nell Carter, won Tony Awards.) The show opened at the Longacre Theatre and ran for over 1600 performances. It was revived on Broadway in 1988. Performed by five African American actors, it included such songs as "Honeysuckle Rose", "This Joint Is Jumpin'", and "Ain't Misbehavin'".

Year Inducted Title
2008 Gennett Records Walk of Fame
2005 Jazz at Lincoln Center: Nesuhi Ertegun Jazz Hall of Fame
1993 Grammy Lifetime Achievement Award
1989 Big Band and Jazz Hall of Fame
1970 Songwriters Hall of Fame

Recordings of Fats Waller were inducted into the Grammy Hall of Fame which is a special Grammy award established in 1973 to honour recordings that are at least 25 years old and that have "qualitative or historical significance".

Fats Waller: Grammy Hall of Fame Awards[3]
Year Recorded Title Genre Label Year Inducted Notes
1934 Honeysuckle Rose Jazz (Single) Victor 1998
1929 Ain't Misbehavin' Jazz (Single) Victor 1984 Listed in the National Recording Registry
by the Library of Congress in 2004.

In popular culture[link]

Key recordings[link]

Title Recording Date Recording Location Company
African Ripples 3-11-1935 New York, New York Bluebird B-10115
After You've Gone 3-21-1930 New York, New York Victor 22371-B
A Handful Of Keys 3-1-1929 Camden, New Jersey Victor
Ain't Misbehavin' 8-2-1929 Camden, New Jersey Victor
All God's Chillun Got Wings 8-28-1938 London, England Victor 27460
Alligator Crawl 11-16-1934 New York, New York Bluebird B-10098
Baby Brown 3-11-1935 New York, New York HMV
Baby, Oh! Where Can You Be? 8-29-1929 Camden, New Jersey Victor
Basin Street Blues 3-11-1935 New York, New York Bluebird B-10115
Because Of Once Upon a Time 3-11-1935 New York, New York RFW
Believe It, Beloved 3-11-1935 New York, New York HMV
Birmingham Blues 10-21-1922 New York, New York Okeh 4757-B
Blue Black Bottom 2-16-1927 Camden, New Jersey Victor
Blue Turning Gray Over You 3-11-1935 New York, New York HMV
California, Here I Come 3-11-1935 New York, New York HMV
Carolina Shout 5-13-1941 New York, New York Victor
Clothes Line Ballet 3-11-1935 New York, New York Victor 25015
Deep River 8-28-1938 London, England Victor 27459
Goin' About 9-11-1929 New York, New York Victor
Gladyse 8-2-1929 Camden, New Jersey Victor
Go Down, Moses 8-28-1938 London, England Victor 27458
Honeysuckle Rose 3-11-1935 New York, New York HMV
I'm Crazy 'Bout My Baby 3-11-1935 New York, New York HMV
I've Got A Feeling I'm Falling 8-2-1929 Camden, New Jersey Victor
Jitterbug Waltz 16-3-1942 Camden, New Jersey Victor
Keeping Out Of Mischief Now 6-11-1937 New York, New York Bluebird 10099
Lennox Avenue Blues 11-17-1922 Camden, New Jersey Victor 20357-B
Lonesome Road 8-28-1938 London, England Victor 27459
Minor Drag 3-1-1929 New York, New York Victor
Messin' Around With The Blues Blues 1-14-1927 Camden, New Jersey Victor
My Fate Is In Your Hands 12-4-1929 New York, New York Victor
My Feelin's Are Hurt 12-4-1929 New York, New York Victor
Numb Fumblin' 3-1-1929 Camden, New Jersey Victor
Russian Fantasy 3-11-1935 New York, New York HMV
Soothin' Syrup Stomp 1-14-1927 Camden, New Jersey Victor
Sloppy Water Blues 1-14-1927 Camden, New Jersey Victor
Smashing Thirds 9-24-1929 New York, New York Victor
Sweet Savannah Sue 8-2-1929 Camden, New Jersey Victor
Smashing Thirds 9-24-1929 New York, New York Victor
The Rusty Pail 1-14-1927 Camden, New Jersey Victor
That's All 8-29-1929 Camden, New Jersey Victor 23260
Valentine Stomp 8-2-1929 Camden, New Jersey Victor
Vipers Drag 11-16-1934 New York, New York HMV
Zonky 3-11-1935 New York, New York HMV

[5]

Filmography[link]

Title Director Year
King of Burlesque Sidney Lanfield 1936
Hooray for Love Walter Lang 1935
Stormy Weather Andrew L. Stone 1943

[5]

References[link]

  1. ^ Palmer, David. All You Need Is Love. Viking Press. 1976. ISBN 0-670-11448-0.
  2. ^ Waller, Maurice and Anthony Calabrese. Fats Waller. Schirmer Books. 1977. ASIN B000JV3G1U.
  3. ^ Grammy Hall of Fame Database
  4. ^ http://beck.library.emory.edu/BelfastGroup/browse.php?id=longley1_10282#longley1_10271
  5. ^ a b Discography/Filmography

External links[link]


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